A Fantasy For The Moment
08 Sep - 14 Oct 2007
A FANTASY FOR THE MOMENT
08.09. - 14.10.2007
Groupshow with David Hominal (CH), David Chieppo (USA), Stéphane Zaech (CH), Andreas Dobler (CH), Dirk Oeghoede (NL), Jim Shaw / Benjamin Weissmann (USA), Annaïk Pitteloud (CH) und Stammer Studio (B), David G. Tretiakoff (F).
In 'A Fantasy for the Moment', as in fantasy narrative, the setting is consistently foregrounded; “deeply” ambiguous, it tends to replace a conventional concern for character. In many, or most, of the included works, the human figure has been systematically expunged, or else rendered incidental, arbitrary, “a part of the scenery.” Yet this absence at the objective end of the production process only serves to highlight a presence at the subjective end. This more shadowy, fugitive type of character only emerges by way of the viewer’s own self-reflexive engagement. Between the production/reception, private/public, art/life axes of whatever constitutes the work’s specificity, in each instance, our subject takes shape as a point of delicate negotiation.
Another distinguishing feature of the work included in this exhibition is its relation to narrative. The image is always joined to another, and another. In this way, a sense of (implicitly filmic) momentum replaces the act of freezing motion and stopping the world in order to study it.
08.09. - 14.10.2007
Groupshow with David Hominal (CH), David Chieppo (USA), Stéphane Zaech (CH), Andreas Dobler (CH), Dirk Oeghoede (NL), Jim Shaw / Benjamin Weissmann (USA), Annaïk Pitteloud (CH) und Stammer Studio (B), David G. Tretiakoff (F).
In 'A Fantasy for the Moment', as in fantasy narrative, the setting is consistently foregrounded; “deeply” ambiguous, it tends to replace a conventional concern for character. In many, or most, of the included works, the human figure has been systematically expunged, or else rendered incidental, arbitrary, “a part of the scenery.” Yet this absence at the objective end of the production process only serves to highlight a presence at the subjective end. This more shadowy, fugitive type of character only emerges by way of the viewer’s own self-reflexive engagement. Between the production/reception, private/public, art/life axes of whatever constitutes the work’s specificity, in each instance, our subject takes shape as a point of delicate negotiation.
Another distinguishing feature of the work included in this exhibition is its relation to narrative. The image is always joined to another, and another. In this way, a sense of (implicitly filmic) momentum replaces the act of freezing motion and stopping the world in order to study it.