Kategorie: Allgemein

On Longing

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ON LONGING
02:30min, 2018
Video with sound
3-monitor installation OR
Single screen projection

“On Longing” is a triptych of three video collages representing different versions of the same video. Angular forms are cut out of monochrome colored surfaces. Underneath and above, moving pictures and animated objects float across the screen. Again and again lines and drawings set accents and emphasize the for the artist typical painterly quality of the video collages.

At the top of the screen, a text frames the heavily textured, colorful surfaces. The text tells of a flat world dominated by patterns and empty structures that organize content and make it manageable. The screen surface itself becomes the focal point and the annotations reflect the ubiquity and the power of attraction of screens and digital surfaces.

Collage Ongoing

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COLLAGE WORKS
Sizes vary
Ongoing

Schürrer’s digital collages appear as contemporary manifestations of the modernist project. Each frame could (and occasionally does, as in her series Gradient or Marble) stand alone, unmoving, as geometrical minimalist posters. The fact that these images are often put in motion enhances their relationship to an unknown future territory, rather than a well-worn past, and distances them from the very packaged, commodified objects that come under scrutiny in the work. There is a sense that these collages are part of a larger body of thought and work, isolating elements and signifiers that point to a wider social critique.
(Alison Hugill)

Hard Wet Soft

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HARD WET SOFT
04:14min, 2018
Video with sound
 
The background of Hard Wet Soft is a colour-intensive gradient, which is crossed by scanned and modified ink and chalk drawings. Due to their magnification, they are sometimes heavily pixelated and the original motif is no longer recognizable.

Throughout the video work, abstract, three-dimensional objects push and rotate through the picture. They are partly reminiscent of organic body parts, machine parts or figures from board or video games. Common to all is, that they are in regular, seemingly infinite motion.

A black, simple frame surrounds the picture for the entire length. From time to time, a hand emerges, stroking and tapping the picture. We look at it from below, as if looking out of a smartphone or other touch screen device.

The flickering text blends seamlessly into the picture composition. The repeatedly oscillate in different positions, straight and mirrored, to emphasize the different perspectives of before and behind the screen.

Fahrvergnügen

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FAHRVERGNÜGEN – Chris Imler
03:47min, 2018
Music video
 
The album MASCHINEN UND TIERE is released on Staatsakt Label in October 2018.
 

Tiles

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Ideal Deficiency

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IDEAL DEFICIENCY
06:46min, 2017
Video with sound

PLAY AN EXCERPT

This film is like a machine. Everything is in motion, humming, in restless rhythm. Recognizable in the beginning is an abstract composition: a luminous circle sliced by a black line, above it, drips of paint, a diagonal beam drifting upward. A nice picture reminiscent of modernism, of Moholy-Nagy, the constructivists. Below it is a painting of nondescript material, probably ash, in the background a blue rectangle that rises and falls. The composition as a whole evokes a computer window, but also sediments, deposits on the screen without any depth. “Control the rupture” is written. A screeching sound: “Split and scratch,” the words and their sound penetrate into these smooth surfaces from which individual subjects fluctuate in rhythm: continual close-ups of vague body parts. A frenzied dance involving patterns that basically do not change as the formats somehow remain the same: An assembly line of images. Controls? Not for us who are thrown into this machine.

Ideal Deficiency deals with bodies and their subjectivization in an era of mechanized controls. From the technical euphoria of modernism through to the current ability to quantify algorithmically, the line is drawn clearly: they are all such beautiful patterns. There is no outside. Permanent variability of the same. And yet they are there: these strange superimpositions, these picture formats that do not simply glide seamlessly, but instead, are full of ruptures. Ideal Deficiency, the ideal deviation, can be programmed. But it also occurs as an uncontrolled effect of program errors and hardware crashes. Therefore, “ideal” is not the smooth marble or body, but something that will abruptly adjust it, that shows a tear in the image, like the black line that once again slices the circle. Or the ash that remains behind: in the first image and also the last. (Yvonne Volkart Schmidt)

Starting point for “Ideal Deficiency” is the omnipresent striving for efficiency and optimisation in all ways of life. The text in the video mirrors these constant demands. But what happens, if an efficient system, designed to constantly flow, is interrupted? Dagmar Schürrer looks at ruptures and interferences and contrasts machine-like perfectionism and slickness with the vulnerability of the human body.

The for the artist typical combination of text and geometrical, fractured composition is complemented with the introduction of drawings. Delicate and static lines are added onto the moving image, on the one hand anchoring the multi-layered composition and on the other hand suggesting additional, hidden layers in the work. The work triggers an ambience of eerie doubt over technical and digital progress on the one hand , but at the same time emanates a strange feeling of pacification.

(Yvonne Volkart Schmidt)