Tobias Hantmann
17 Oct - 17 Nov 2012
TOBIAS HANTMANN
Furniture with one door
17 October - 17 November 2012
Galerie Bernd Kugler is pleased to present in their rooms in Innsbruck Tobias Hantmann’s third solo exhibition.
In the new velour-works, scenic snapshots are seen alongside geometric abstract compositions. They are reminiscent of photographs and silhouettes seen through coloured filters.
Glimpses through the keyhole or momentary projections: too fragmentary to allow us to recognize the grand narrative and yet too archaic not to be able to guess it.
The figures and theatrical fragments are spatially graded and interwoven. Light sources within the images illuminate and shade the scenes, drawing the eye to material details and intimating the content.
The compositions titled "Black and White" are, however, head-on and have stark contrasts. Loosely scattered polygons connect with their surroundings through joined surfaces and evoke insecurity through their apparent banality.
It is not easy to see these images.
In both cases, the viewing process itself becomes a challenge; one of deciphering and almost hesitantly advancing into the images’ realm.
And through this process, the difference between the factual-tangible in comparison to the images’ objects and the reactions of the body's inner workings becomes clearer.
Who is demanding readability?
The lack of explicitness is conditional to the life of the images.
Furniture with one door
17 October - 17 November 2012
Galerie Bernd Kugler is pleased to present in their rooms in Innsbruck Tobias Hantmann’s third solo exhibition.
In the new velour-works, scenic snapshots are seen alongside geometric abstract compositions. They are reminiscent of photographs and silhouettes seen through coloured filters.
Glimpses through the keyhole or momentary projections: too fragmentary to allow us to recognize the grand narrative and yet too archaic not to be able to guess it.
The figures and theatrical fragments are spatially graded and interwoven. Light sources within the images illuminate and shade the scenes, drawing the eye to material details and intimating the content.
The compositions titled "Black and White" are, however, head-on and have stark contrasts. Loosely scattered polygons connect with their surroundings through joined surfaces and evoke insecurity through their apparent banality.
It is not easy to see these images.
In both cases, the viewing process itself becomes a challenge; one of deciphering and almost hesitantly advancing into the images’ realm.
And through this process, the difference between the factual-tangible in comparison to the images’ objects and the reactions of the body's inner workings becomes clearer.
Who is demanding readability?
The lack of explicitness is conditional to the life of the images.