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01/23/2018      opening
7 pm

02/03/2018      finissage
11 am

 

jon törklánsson

in order to approach the invisible, the absent that is implicit in any kind of presence, jon törklánsson shifts our perception from what is concretely material and presented-to-be-seen to the representation of representations. questions of depiction and representation are tied to issues relating to 'blickregimes' and economic coherences, visibilities and imaginations as well as saying and depicting. the focus is placed on the connection between textual and visual processes of signification and the irritation they cause.

(1) enginn snjór (2016)
by negotiating verbal-linguistic signs as photographs, the process of beholding is subject to an unconditional image-mode that simultaneously denies the visible world, i.e. the frame of reference. this insistence on the signifier and its 'fixation' in a classically photographic sense conjures up a broken, irritated signified. by disrupting the context of reference, 'meaning' is corrected, i.e. shifted from the plane of tangible depiction to the imaginary image of reality.

(2) documentation of research of achievement (2015)
two book series - a total of 98 volumes and subvolumes - document the engagement with epistemological processes where the series "research" examines the interplay of empty, constantly repeated phrases, whereas the series "nothing" focuses on processes of impossibilization and invisibilization of knowledge; perception is thus confronted with formless contents as well as forms supposedly void of content.

(3) einn á móti einum (2002-04/2017)
the project "einn á móti einum" (transl. one-to-one), which, according to jorge luis borges, pretends to depict a 'realm' on a scale of 1:1, doubts the photographic promise of realistic depiction - and thus denies the act of all immediate depiction.
the large-format photographs translate three of the altogether 166.666 photographs into three variables of self-referentiality, which are admittedly supposed to indicate the very spot where the blue of any sea begins to change as soon as it meets land, which in the long run and due to the highly unreliable mode of representing representations achieve nothing else but their own impossibilization. what is supposed to be depicted becomes impossible to depict in the moment in which is depicted.

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