He certainly wasted no time by signing his first executive order within minutes of being sworn in, one that aims to repeal Obamacare and that would deny health care. This president, more than any one in decades, is galvanizing people to take action and get involved, just not in the way he might have preferred and we’ve been seeing a steady dialogue on the street about him since last fall. Similar to his recent installation Trail (2016), recently shown at the Dortmunder Kunstverein, these works project a vision of alienation that links the virtual and material worlds in which we navigate.Inauguration week was just as bumpy as you could have expected with an incredibly divided country discussing the outgoing president, the incoming president, the foreign interference and weird circumstances around the actual election, the nearly all white all billionaire cabinet nominees, and the Women’s March‘s that vastly overwhelmed Trumps ceremony attendee numbers while “sister” marches took place in nearly 700 cities around the world.
Aquarella berlin 2015 serial#
This edition follows an inner logic characteristic of Zach’s work, who often uses installations to establish a context for interrelated serial artworks where various approaches get pol- luted, coherencies broken and categories perpetually overwritten. In _DSC5824 (2016) various objects, including a shoe by the French brand of ergonomic footwear Mephisto, a Zapper (a device to stop insect bites from itching by emitting electric shocks to the affected tissue) and a camping spoon, have been added into a landscape with flaccid plants to compose a contemporary still life. In Snake (2016) various black and white lines have been digitally drawn onto the photograph recalling the early homonymous computer game in which a player navigates a line to catch a pixel in order to grow longer and longer thus becoming an obstacle to itself and eventually ending the game when the snake bites into its own tail.
This edition by Phillip Zach consists of two fine art prints on archival Sihl Aquarella paper of digital photographs showing steep sandy hillsides, both involving modifications at different points in their production. His inflatable sculptures first used tropes of global spectacle culture such as circus tents, portapotties and stadium seating, and later developed into blunt representations of airplanes and pilots as both stewards of globalization and highly symbolic representations of a crash. These prints continue themes that Langan-Peck has explored in several previous works about the economy of mobility. This second mask introduces a kind of subjectivity – an observer through which the images must be mediated. The silk-screened layer obscures parts of these scenes with silhouetted figures that pace through and point out of the frame. They depict a man in a hat, a messy room and a dark street suggesting a subdued kind of desolation.
Aquarella berlin 2015 windows#
The photographs are masked in the shape of airplane windows – the jet is taken as a vehicle of global aspiration but also as representative of newsworthy violence in the form of various plane mishaps and disappearances. This edition by Matthew Langan-Peck consists of three photographs taken by the artist that are overlaid with hand-screened silhouettes.
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