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  [MONITORING. Günther Selichar]

SHOW / ON SITE
Verein Medienturm
Großmarktstraße 8b, A-8020 Graz
25.01.2001

Selichar’s works belong to the tradition of modernity, with a view to Malevich, to Barnett Newman, to Rothko and Richter. He also understands his photographic works as an enlightening contribution among the throng of mediacritical elucidations and reverts almost prosaically to the medium of photography, the oldest of the new media [...].
The enlargements of infographic carriers, of monitors, photocopies, printing, etc. make us aware of the “place” that bears (away) the traces of our presence. Thus the carriers, to which we entrust the legacy of our presence, already bear a “mark”, seem to be “punctured”, injured, and do not correspond at all to the immaculacy of a surface, to which we sacrifice the dimensions of space [...].
Selichar’s works show that each and every media-technical apparatus bears that which is depicted into a “sphere of principal otherness”. Each reproduction bears the mark of this “otherness” and thus generates a truly productive difference [...].
As little as “Screens, cold” allows a distinction between inside and outside, between surface and concealment, so much do we experience the loss of thresholds that allowed us to distinguish between interior and exterior spaces. We move through urban or private spaces as in the passages of the 19th century, except that the shop windows have been replaced by flickering monitors, flatscreens and moving letters. The levelling of space is mirrored in “Screens, cold” and the departure from painting that Malevich once demanded for Suprematism, in favour of an electrifying stimulation through the material world, now seems to be pacified here. When architectures are shrouded in interactive screens, as it is increasingly done with media buildings, then a postulate of the plane returns, of the plaque as the promise of an outside world that may be called up at any time, but not accessed, not entered.

Aileen Derieg

Günther Selichar

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Günther Selichar, Screen,cold#14, 1997/2000. Aquarelle. Edition Galerie Fotohof Salzburg, 2000.

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