. Loom weaving and trees, for the Publication on Thomas De Falco, Oneg Magazine online and biannual printed version, February 2021
Thomas De Falco, born in 1982, lives and works between Italy and France.
Thomas De Falco artistic research and production are based on his studies of philosophy and poetry – specifically authors such as Paul Eluard and Gilles Deleuze – and they’re influenced by his research about masters such as Claude Lorrain and Caspar David Friedrich. Ultimately, De Falco’s practice unravels through the creation of textile sculptures -wrappings- , performances and large scale installations. At the base of the process is the semantic of shapes and forms which belongs to the natural spectrum whence the human body results as newly intertwined. Moving from the act of drawing as fundamental gesture of his initial process , underlining words and poems while reading at the very beginning of the artist’s practice, isolating signifiers and signified, his work evolves through the watermark of the sculptural wrappings he realises, assembling nature and bodies mirroring each other by being thoroughly interwoven. The thickness of the knots manually realised, the density of the surfaces, embodies the complexity of De Falco’s work through the use of materials such as wool, plastic, silk and electric cables. The sculptural wrapping as representative process and action of De Falco, is deeply connected – to the degree of being ultimately based on – with the study of nature, fungi biology, metamorphosis, action and interaction between human bodies and the devouring shape in which the nature takes over technology, swelling gears and cables, subsuming matter and absorbing signifiers. The performance and installations are the landscape in which the sculptural matter, the one of the above mentioned wrappings, bodies, cables and fabrics, takes form and occupies the meta-stage of the alternate natural environment conceived by the artist…
Chiara Valci Mazzara
find the full text at:
Text to the exhibition ‘Inner Monologue’ Woo Chang Won solo show, K.P. Gallery, Seoul, South Korea September 15th ,2020 through October 9, 2020
The work of Chang Won Woo is about the space in-between. It’s about the reign of the self, a moment in time; it is placed between the thought and its ‘movements’, it is about an act of (self) reflection that moves inwards. It doesn’t take place anywhere exterior.
The liquid modernity* of the surrounding world shines through the act of this self reflection, taking shape around the inner dialogue, questioning the boundaries of acknowledged signifiers and closing up on the matter.
The moment, the silence, the inner world that rarely happens to be completely graspable closes up on the inner core of the thought, on the signified**.
The reflection about this inner world, central in the work of Woo, is the projection of the self and/or inner perception. The most intimate one.
Through the wonder of the stillness, the calmness, the closed eyes, the vicinity to the details and to the matter, through the space suspended and while the internal dialogue takes place, the world -outside- shuts down and this happens when the artist moves towards the visual narrative of the internal discourse.
There’s only the white noise, the one created by those back thoughts not yet spoken in the tongue of the inner monologue.
Time stands still, the sound of the wording is rounded: the space doesn’t really matter because the light, the focus, the intention to question, are touching only what one thinks and only when the internal discourse exists, nothing else.
Eyes are closed. Images are floating. Nothing needs anything to exist, everything is sufficient because the space of the internal dialogue doesn’t have any time frame. Neither has it boundaries: it does not subject itself to any external gravity.
The in-between hosts the verbal stream of consciousness, developing into the inner monologue that initiates the process at the origin of the work of Chang Won. He pursues the awareness about the inner processes of the self and his work is the evidence of a moment suspended in time which doesn’t exist anymore and never have been spoken. The most intimate and the most precious. That is when his photographs shine outwards: back from the reign of in-between, carrying a new consciousness, answered questions, time suspended answers, inner voices, quests about the self
and its perceptions, about the matter, about time, about stillness, about inner worlds .. all that generates inside is blown outside.
Is an inner monologue an unconscious action which leads to double the thinking into an internal dialogue? Are the thinking and the inner monologue two different things? Is it a monologue always? That does not really matter – The movement towards the quest has been projected ahead and we are now in front of the photographs: the vessels of the thinking, the moment fixed in time, the representation of what happens within: from outside.
Here, Woo places his process of creation and his work reflects back this inner, profound moment. Chang Won Woo engages with the inner silence and the quest about what is the signifier and how it is perceived. In that space there’s the innermost thinking of the artist about the self, its reflections, projections, images. There’s sound and re-sound navigating intimate and uncertain waters.
Woo renders meanings from the space within, opens a path of being and knowing, of functioning through the process of investigation of faces, casts, expressions, moments in time, flowers, passing time, leaves, mirrors, time, time, time within, time as the indefinite continued progress of existence and events.
Through the matter of the subjects of his photographs, the faces casts and the stillness, he leaves us in front ourselves, in a sub-spatial space, in a sub-timing time where the inner monologue lives next to the reflections we have of ourselves, of what surround us, of the time passing by, of the same reflections of ourselves we find through others or mostly – here – through ourselves. That is when the outside echoes back towards the inside.
Chiara Valci Mazzara
*Liquid Modernity, Zygmunt Bauman, 1999
**Ferdinand de Saussure, 1959, Course in General Linguistics. New York: McGraw-Hill
English-Korean Translation & Editing: Hyein Park
우창원 작가의 작품은 사이-공간에 대한 이야기이다. 이것은 한순간, 자기 자신의 지배에 관한 것이다; 이것은 사고와 이것의 ‘움직임들’ 사이에 위치한다. 이것은 내면으로 향한 (자아) 성찰의 행위에 관한 것이다. 따라서 이는 그 외부 어디에도 존재하지 않는다.
공시 세계의 유동하는 근대는 통용되는 기표의 경계에 대한 의문과 그 본질의 탐구에 관한 내적 대화로 형성된 자아성찰의 행위를 통해 빛난다. 그순간,고요,
우창원 작가 작품의 핵심인 이 내적 세계의 성찰은 그의 자아 및 또는, 내적 지각의 투영이다. 바로 작가의 가장 개인적인 부분인.
정지된 공간에서의 침묵, 고요, 감은 두 눈, 그리고 디테일과 실체의 주변에서 얻은 경이로움으로, 내적 대화가 이루어지는 동안 -외부의- 세상은 정지한다. 그리고 이 현상은 작가가 이 내부 담론을 시각적 서술로 전개할 때 발생한다. 지금까지 말로 뱉어지지 않은 내적 독백의 사념들이 만들어낸 백색소음만이 그곳에 존재한다. 시간은 정지하며, 이 구절이 내는 소리는 맑고 뚜렷하다: 그 공간은 중요하지 않다. 빛, 초점, 물음의 의도만이 무엇을 사고하는가에 간섭할 뿐, 그리고 오로지 내적인 담론이 실제 할 때만 일어난다. 다른 것은 아무것도 필요치 않다. 두 눈은 감겨있다. 이미지들이 부유한다. 존재에 필요한 건 아무것도 없다. 내적 대화의 공간은 시간의 틀이 없기에 무엇이든 충분하다. 이곳엔 경계 또한 없다: 이것은 어떤 외부 중력에도 지배받지 않는다.
이 사이-공간은 의식의 언어적 흐름을 주관하며, 이 흐름은 이는 우창원 작가의 작품을 기원으로 시작하는 내적 독백의 전개된다. 그는 자기 자신의 내면의 전개 과정을 탐닉하며, 그의 작품은 더 이상 존재하지도, 이야기되지도 않은 시간에 정지된 순간의 증거가 된다. 가장 개인적이면서도 가장 귀중하게. 그때가 그의 사진들이 외부를 향해 빛을 내는 순간이다: 이는 사이-공간의 지배로부터 일어난다. 새로운 의식의 관철, 질문, 시간이 배제된 대답들, 내면의 목소리, 자아와 그 인식에 대한 탐구, 그리고 물질에 대한, 시간에 대한, 고요에 대한, 내면세계에 대한 탐구… 내면에서 일어난 모든 것이 바깥으로 폭발한다.
내적 독백이란 사고를 두개로 만들어 내면의 대화를 이끌게 하는 무의식적인 행동인가? 사고와 자기 독백은 다른 것인가? 이것은 항상 독백인가? 이건 중요하지 않다 – 이 질문에 대한전개는바로앞에투영되어있다.그리고 우리는지금이사진앞에서있다:사고의 그릇, 시간에 고정된 그 순간, 내면에서 일어난 일의 표현: 그리고 외부에서 이를 바라본다.
여기에 우창원 작가는 그의 창작 과정을 배치한다. 그리고 그의 작품은 이 내적이고 심오한 순간을 되돌아보게 한다. 그는 내면의 침묵과 그 기표가 무엇이며 그것이 어떻게 인식되고 있는지에 대한 탐구에 몰두한다. 그 공간에는 작가 자신, 반사, 투영, 이미지에 대한 내면 깊은 곳에 자리한 생각이 있다. 그곳에는 개인적이고 불확실한 바다를 항해하는 소리와 울림이 있다. 우창원 작가는 내면의 공간으로부터 그 의미들을 묘사한다. 그리고 그는 얼굴, 주형, 표정, 순간, 꽃, 지나쳐가는 시간, 나뭇잎, 거울, 시간, 시간, 내면의 시간, 존재와 사건들의 불명확한 진행으로써의 시간에 대한 탐구의 과정을 통해 기능하는 인식과 실재의 통로를 연다.
사진 피사체, 얼굴 주형들, 그리고 고요를 통해 그는 우리를 우리 자신 앞에 세운다. 우리는 ‘하위-공간의 장소(sub-spatial space)’에 그리고 ‘하위-시점의 시간(sub-timing time)’에 선다. 이곳은 우리를 에워싸고 있는 것, 지나쳐가는 시간의 반영과, 타인을 통해 볼 수 있는 또는 대부분 -여기- 우리 자신을 통해 찾을 수 있는 동일한 우리 자신이 비친 이 상들 옆에, 내적 독백이 남겨진 곳이다. 그리고 그때는 외부가 다시 내부를 향해 메아리치는 순간이다.
*지그문트 바우만(Zygmunt Bauman), 『유동하는 근대(Liquid Modernity)』, 1999
**페르디낭 드 소쉬르(Ferdinand de Saussure), 『일반 언어학 강의(Course in General Linguistics)』, New York: McGraw-Hill, 1959
.Henrik Strömberg ,Refraction of Lightness, Morra Foundation /Shozo Shimamoto Association, Naples, October 2019.
Curatorial note to the exhibition:
The work of Henrik Strömberg is the result of a creative process of investigation about form and content, volume and concept, multiplication and refraction of meaning.
Living and recovered materials such as paper, glass, burned newspapers and pigments contribute to the creation of works that allow the viewer to immerse in a landscape organised as a self-sufficient ecosystem that, by suggesting new forms, creates new contents. Where every element becomes part of a whole.
The assembled prints creating a new system of references relating to the meanings and aesthetics they originally had, are now enriched with additional semantics, while, at the same time, the glass volumes reflect the complexity of the creative gesture. In the glass works, a transformation and the alteration of content, occur simultaneously.
Ultimately, the matter is shaped and transferred through different media, all the elements are commuting back and forth regularly concurring, and eventually, overlaying meanings. Nothing can be isolated, everything mutate as when volcanic magma erupts.
In the spaces dedicated to the master of the Gutai group (Morra Foundation/Shozo Shimamoto Association), the Northern European artist approach the exhibition space through the system of references linked to the creative gesture. At the same time, the references to Surrealism, to the re-evaluation of the object-trouvee and the use of the form to act on the content are perceived as a characterizing elements of Strömberg’s work.
In the printed pieces the roots of the past meanings, and -for the sculptural volumes- the references to biological forms are perceived diving into an alternate drift of perspective: Strömberg reduces the source to polarise the content at the very core of the image perception. He doesn’t settle down for clarity, rather he pursues the action of placing triggers to initiate a new existence of the subject. The clarity being left aside, it is consequential that the viewer is exposed to an unexpected outcome and to an ephemeral content.
While the installation of the volumes and the different components takes shape, a sub-ecosystem formed through the combination between seemingly disparate elements appears as a logical consequence. Photographic elements, negative cut outs, paper works and sculptural volumes are coexisting but their accumulation is not left to chance, rather to a multiplication of occasions. The various elements commit to deliver a wider perception of the different pieces, it’s like a dance where every single element concur to a higher harmony.
The sequence of reflections, the portions of images and the verticality of the installation take form as an immersive landscape through which the viewer is moving, absorbing the complexity of the elements, never redundant and always cohesive. There’s not a unique interpretation but rather a kaleidoscope given by the use of different media equally involved in the final result.
.Morph-O : isolation of (portable) pressure ; Curatorial text to the catalogue for Daegu Photo Biennale Berlin, Kunstverein am Rosa-Luxemburg Platz, Berlin, August 2019
// MorphO //
Isolation of (portable) pressure
Morph (-O) -neither metamorphosis nor morphosis- stands for the root of the word. ‘Morph’ is meant as for its etymological meaning. It refers to the shape, the change, the form of the object and ultimately the content. It generates the friction created by the ever-changing shape and the ever-changing pieces in reference to each other.
By mutating to define a shape, Morph- narrows down the circularity of an ‘O’ (Morph- seeks for a destination and the O attempts to contain the ever changing matter).
Morph- means shape and matter. It’s a movement from within. It responds to the idea of transition between material and un-material; when affecting the form, the content mutate.
Morph- is an inner change, it acts on other things and determines a shift from one thing to another: contorting the matter, affecting the form, mirroring an alternative meaning.
Morph- is everything that happens during a transition: it’s process, it’s boundary, it’s on a threshold: hence it’s intermediate. Morph- is also the ambiguity and the disorientation that occurs in the middle. Can be distortion and a new beginning.
-O draws the outlines and the outlines attempt to contain the constituents, if and when this is somehow possible. The matter is the visible proof of the content. The things that are least important are removed.
-O tries to grasp the moment immediately after the in-between.
-O Is the moment in time, beyond the space in between and after the transitional.
-O is close to a circle and contains phenomena inside its borders.
-O is the matter when rounds in a shape, is the last letter (Morph-O), is the final step towards the response to a visual stimuli.
Morph- originally concerns letters, sounds and shapes. -O outlines form, defining the content. It is ever changing during each and every transitional moment of time, frame and context. It determines the form, leaves tangible the matter, resolves the subject.
Morph- makes the object visible and therefore tangible, isolating a variable pressure which becomes perceivable and figuratively portable; the pressure is transferable: from a context to another, from an object to the viewer: the pressure is given by the meaning.
The system of meanings to which the photos and pieces refer is symbolic but what is visible is the shape and weight of the subject. So the portable pressure is the one of the Object represented, the physical weight and -figuratively- the one given by its past and new contents, its story and new life when translated in photographic works or in sculptural volumes.
Morph- is the in-between and belongs to different places and different moments in time.
-O is the intensity of the photographic investigation, is the stage, the object suspended in space and frame. Is the phenomenon detached and vibrating from an alternate perspective.
Sharp yet intimate and delicate photographs are organised sequentially. The serie of photographs unfolds in a liminal space, where what was is now the next. Where the transformation took place and the time stands still. The subjects of the works are located at a sensory threshold, endowed to elicit a response.
The matter is composed, the object comes from a past life, heir of its past owner’s use. The artefacts are the absolute subjects of each and every stage on which they’re adjusted, they seem to be suspended physically and in tempo.
The delicacy of the photographic composition is articulated through the use of the light, so that the shadows are liminal. Each object stands on a physical and figurative brink, it keeps a boundary with the place it comes from but is now isolated in time and space. The meaning is changed: it absorbed a translation of its very core meaning and use. It’s a regression but moving forward.
The things, the objects re-arranged, staged poetically, become apocryphal, being removed from their past context and strayed from their use, they start to vibrate differently.
They’ve not being re-moved -and their meaning re-evaluate- aimlessly: they create a new intimacy, reveal their patterns, past use and new meaning. They are immutable and everlasting. They’re shimmering through the simplicity of the act of being placed on a meta-stage. Super-imposing over the past. Un-disclosing their entity and a myriad of signifiers.
The pressure is the one of the object on the surface, the one of its past use and value, the new of an unexpected poetry of the photograph.
Each photographic piece is a journey about the past meanings: but only marginally, because now the object is only itself, placed there, under this light, alone, shimmering and enclosing a new meaning: the one of the viewer.
Jung Sung Tae,
Morph- reveals itself through a closer look, it is there in the pattern, in the shapes of the non-subjects depicted. Normally, as long as it remains unnoticed, the shadow is guaranteed to remain insoluble. But here’s a closer look on its movements around the invisible turning into visible.
Morph- is in the photographs completely revealed: the shapes, the shadows, the form can’t remain evasive any more. The artist moves quickly, catches the moment, takes an accurate look. He isolates elements inside a frame, at the spur of the moment revealing the shadow and an intimate pattern of meanings.
The inner forms of the objects are the elements displayed in his pictures. The rough matter determines his angle of observation: each image is linked to a memory and isolates the matter and details, their shadow, and its very own reflection.
Each picture feels like token in a millisecond. As Looking through a lens, catching a detail, the light and the shadow and holding the images there, fixed in time. Frozen.
The reflection of the image in the eyes of the viewer is quick, at first not recognizable but slowly making sense. Branches, shadows, patterns, ripped baseball ball, rust and a skull: every element of every image is enlarged because is contained in the choice of the artist. He isolates the matter, re-evaluates the form of the shadow and twists the content into the very reflection of an inner state of perception.
-O is the composition of the pictures, is the attention to the very detail, the set apart a shape, a form, an essential feature from the whole.
The pressure is the meaning of the memory. The leftovers of a moment which the artist attempt to fix in time by isolating its very essence. The pressure takes form through something so ephemeral as a shadow determined by a brief time period: right there and right then.
The shadows and the subjects of the works are merged in a unique entity, invested with the task to be proof of the past moment and evidence of the present perception.
Morph- is the change that occurs continuously as well as the shift of the form and the signifier is a condition always to be expected. Both, a transformation and a alteration of content, are occurring simultaneously. The matter is shaped and transferred through different media, all the elements are commuting back and forth regularly concurring, and eventually, overlaying meanings. Nothing can be isolated, everything mutate as when volcanic magma erupts.
In the photographic pieces the roots of the past meanings is perceived diving into an alternate drift of perspective, Strömberg reduces the source to polarise the content at the very core of the image. He doesn’t settle down for clarity, rather he pursues the action of placing triggers to initiate a new existence of the object. The clarity being left aside, it is consequential that the viewer is exposed to an unexpected outcome and to an ephemeral content.
Morph- acts on the in-between, while the installation of the volumes and the different components takes form. A sub ecosystem formed through the combination between seemingly disparate elements appears as a logical consequence. Photographic elements, negative cut outs, paper and sculptural volumes are coexisting but their accumulation is not left to chance but rather to a multiplication of occasions. The various elements commit to deliver a wider perception of the different pieces, it’s like a dance where every single element concur to a higher harmony.
The sequence of reflections, the portions of images and the verticality of the installation take form as an immersive landscape through which the viewer is moving, absorbing the complexity of the elements, never redundant and always cohesive.
There’s not a unique interpretation but rather a kaleidoscope given by the use of different media equally involved in the final result.
The -O, here, narrows down the matter and the matter is the subject of the onward multiplication in the volumes. The -O is the grid, the attempt, the part and the protagonist of the movement through something, creating something else. Is the glass expanding through the grid of his sculptural volumes, is the depiction of transitory atmospheres in his photographs.
The pressure, in Strömberg’s photographic works, is the one of the ephemeral objects, removed from their nature. It is the one of the pattern of the facade, revealing the texture of the engraved stone in his larger photographic piece, as well as when the pressure is the one given by the heritage of the object trouvee’ and re-assembled in his intimate shots.
In the sculptures, the pressure is constantly the one of the glass volumes of the stacks, on the paper, on the fragments. The pressure gives verticality to the accumulation of media, elements, contents, new meanings, new paths.
Woo Chang Won
Morph- acts in the work of Woo Chang Won as the variable that acts on the physical property of the matter of the objects.
Morph- stands between the usual perception of shapes and form and the action of the artist who deconstructs the substance to reach a different core, a different tangibility of the materials. An alternative perception and meaning. He reduces the object – together with the perception of the world around him – to the substance they’re made of.
The physical world of materials is not anymore the element which constructs the subject depicted in the pieces, but rather is the protagonist, disengaged from the context.
On the edge between consciousness and unconsciousness Woo Chang Won isolates the pure material, the matter, the morph-.
He blocks the matter right before it constitutes in a defined shape. He’s fascinated by the response to the materiality, the immaterial content.
From a general perception of objects, the artist recedes to the particular of their physical composition: the rough matter. He untwines the matter and the subject resolves in the bare material.
The artist proceeds building a visual stage in which the substance floats, not permitting anything else but the matter to exist.
-O works as through a microscope: the subjects of the photographic works are standing still, showing traces of the transformation, of the movement of the material they’re made of.
The substance being revealed, the background being traced back to the essential, the consciousness of the viewer can relate only to the circumstances in which the subject is investigated. The artist recedes to the very core, building a system of objects contained into objects enclosed into other elements, reaching the molecules of the phenomena and re- placing the image in a new perspective.
The abstraction is the result of a backward process to the origin. Between abstraction and reality, the awareness is triggered and results in a deeper understanding which leaves open the interpretation but doesn’t allow any escape from the crucial and urgent view of something un-defined yet momentous.
DSL Collection MANIFESTO; Written as fontaine b. artistic director and with Gabriela Anco, May 2019
This Manifesto for the dslcollection is a statement, a tool, a way to discover a new perspective.
This Manifesto is a body of content that will initiate a wider communication with the public : a communication that will take shape through the act of producing, sending and sharing different content each month in order to explain and deepen the mission of DSL Collection.
This Manifesto aims to flip the perception of art, deconstructing the old and inspiring a new vision and sensitivity. The act of collecting and the value of the collection, initiating an immediate transformation, are guiding the viewer to seeing new meanings. Intending to counter the public’s present short attention span, the Manifesto suggests a new approach/vision/inspiration conceived to direct this ephemeral moment to a profound understanding.
Using new tools and media as catalysts and above all, allowing accessibility to the collection and its meanings, the art works and its references, the Manifesto follows the Collection in valuing interactive and participatory approaches and refining the traditional and crystallized relationships between art and its audience.
dslcollection DECONSECRATES art
By deconsecrating the public’s approach to art, limiting the intimidation by art, countering art as an elitist, exclusive means and fostering invitation to see, feel, create, admire, collect.
By deconsecrating the collection: the act of collecting and its outcome. Instead, create a graspable, enjoyable, achievable heritage.
By deconsecrating the artwork from holy object to pure meaning: recognizing its value as a witness of an act, as a proof of the spirit of the times, as the manifestation of the collective aesthetics and sensitivities.
Art ceases to be a luxury item holding an outdated system of references, rather it shines as an incredible source of inspiration and intellectual wealth.
By observing a sense of passion, through sorrow and zeal, constructing a collection, which delivers a sense of new profane proximity with the viewer, the public, the community.
dslcollection believes in PROGRESS
The innovation challenges the status quo. The Collection doesn’t intend to change but rather inspire a new logic, beyond the frame, investigating new parameters.
Progress serves art; technological advancement is a tool to perceive art in an easier, better and more thorough way. DSL collection draws the scenario of new meanings which will portray the future, starting from the present situation asset.
As the past tubular mail, Internet is now present everywhere, opening access and reaching once anonymous doors. Through new virtual media and methods of communication and diffusion, the collection strengthens the distribution of ideas, theories and inspiration to embrace a new approach.
Virtual and Augmented Reality grant an altered way to perceive art, fostering a new kind of proximity, granting the collection a strong sense of cohesiveness. The possibility to experience anything, anywhere and anytime, though a controlled curatorial insight on works collected and brought in common dialogue, going beyond our spacial dimensions and limitations. VR and AR offer not only a new way of exposing, but also of creating, of generating reality. A reality, which can also be attained by reliefography, giving a chance to masterpieces to travel and be seen in a cloned physicality.
But overall, the Collection rouses the development of a new logic, a new way of acting, marching towards an improved and more advanced condition.
By activating curiosity, spreading ideas. Ergo primarily a collection of ideas, dslcollection delivers content through new media, expanding a collective vision.
It is the new media then, taking over, initiating a dialogue which comes before the objects.
By taking the lead in using innovative means to share the collection. Perceiving, adapting, aspiring towards new technologies, and inciting new progressive thinking.
Building upon established convictions of the 20th century, the Collection converts their essence to our days. Marcel Duchamp’s portable museum acquires a new meaning with a virtual reality set allowing to visit the DSL Collection, the Fluxus diffusion of material is being managed through skillful manipulation of virtual networks.
By creating, adopting and cradling ideas, valuing and spreading them.
As a windmill feeding on thoughts and concepts, existing or newly revealed, the collection embraces and transforms them into new matter and new ways to « consume » art.
By supporting disruptions, keeping a dynamic and flexible position. Understanding and adjusting to changes, learning from the past, working for the future, yet living in the present.
By favoring the art of the present, creating a vibrant collection, from works with alive, vivid spirit.
dslcollection believes in the FLUX
Flux as an artistic movement and act of the past, but also as the re-evaluated action of dslcollection: it solidifies the flux action by publishing and spreading ideas, visions, content, and through the use of technology and the media of our times.
The idea of « flux » suggesting a “flow” and an “effluent”: continual change. The « flux » is the origin of Fluxus movement of the 1960’s, which focused on the action, on the phenomenology of the act, and on the diffusion of information.
dslcollection is in a state of flux, flowing, sharing, enacting, committing to a group. Flowing – as adjusting; flowing – as disseminating; flowing – as free sharing of ideas. Flowing – as Fluxus, and Fluxus – as an attitude.
The works of art are a place of interaction between the artist and the viewer. The collection is therefore an organized gathering of constant exchange amongst the artists, the audience and the collector.
The works of art are a democratic form of creativity available to everyone. The collection is thus a playground for flourishing imagination.
The works of art are works of life. No walls should be placed between art and reality. The collection crosses art and life in a new kind of reality, the virtual reality.
Art is meant to be consumed by all the people, without requiring particle accreditation.
Art is a complex organism in which ideas, behaviors, sensitivities and media blend together contributing to a new vision.
dslcollection is a COMMUNITY
By creating a virtual common ground for individuals with common interests to interact and exchange.
In times where physical distances are not as restrictive, people display a need for attachment. dslcollection attracts like-minded individuals to circulate around one common fire. People bring ideas, and ideas create changes.
By collecting ideas before objects. Artworks are a cluster of choices made by an artist, and a collection is a cluster of choices of the collector. Adapting this conceptual perspective, dslcollection choses the collect choices, thoughts, impressions, ideas.
By interacting with the audience, for all community is sharing, is giving and receiving. Emitting signals, and accepting the replies, the collection does not stay indifferent to suggestions.
By adopting an evolving state of constant flux, the collection creates a flexible community of contributing individuals.
By being an active ecosystem of inspirational ideas, operating in hyper-communication and innovation to suggest and ultimately gain a higher level of access to art.
dslcollection lives in the ZEITGEIST
Zeit-geist is time. Zeit-geist is spirit. Zeit-geist is now.
By collecting. By the act of gathering the samples of the present in order to create a portrait of the times.
By collecting Chinese contemporary art, a country leading the XXI century economically, strategically. By registering the very change in collecting attitudes from the strong focus on the Western contemporary scene to the Eastern.
By limiting the collection to a set number of artworks finely tuned with the Zeitgeist.
By embracing the technology of now, translating its potential into a new form of diffusion to empower cultural exchange.
By gathering a community of like minded individuals, that resonate on an invisible frequency, which depicts the spirit of our age.
By adapting to the changes times, keeping flexible and trusting the future generations.
By inspiring the history being formed now.
Author of the text to the exhibition of Ann Nöel Williams, Works 1964/2019, Free Home, Berlin, February 2019
Oh! Ann, i was on my way to YOU today and i couldn’t read what i wrote on my notepad.
The white pages were too bright with the sun, sitting on the train, going west.
Now i got to know YOU. We share thoughts.
i walk through your street with the confidence one has arriving to a known place… still, the pages of my notepad are too bright to read them.
i did eleven steps as i turned the corner, the letter ‘ I ‘ is the eleventh of the alphabet. (Numbers can be tools to serve the words…)
i am trying to read again the questions i prepared…thinking about your work and your ideas as continuous flow, like a watermark in colours. …feels like i don’t really need notes now.
Maybe only words would be better: questions always point somewhere and we want to be free to roam around over here… even just around a word or a letter… like if we were pivotal little bodies?
In my notes each and every topic involves a word, which starts with the letter ‘ i ‘. I think there’s no better start…
The words are never shy, one only has to listen. And to treat them well.
Sometimes they can’t be found, but many times they’re merging together: and they make complete sense.
The words are formed by letters and the letters, well, they’ve got a strong character.
Do you remember how you told me about the ‘ i ‘ you choose for each of your friends? Each one had his or her ‘ i ‘ portrait.
Now i think about it all the time.
i dismantle the fonts of the advertising signs walking along the street.
i meet a person and i wonder which kind, shape, outline, colour and thickness could have his very own ‘ i ‘ (portrait).
But I think that not to every person suits an ‘ i ‘.
i is all of YOU. And all of YOU is me.
i am not sure if one should include all of the people in an ‘ i ‘. Maybe it is only relevant to include the brightest ‘YOU‘. The people one can share with. As YOU did, as in a state of flow, working, processing ideas, sharing, encountering artists who became friends.
‘YOUs’ are important as we said, they are the whole of each ‘ i ‘ and that is not ephemeral, it is crucial.
Somebody, then, can be an ‘H‘ (that comes before ‘ i ‘) and function as a bridge (like between two straight lines, between two persons). And somebody can be an ‘ L ‘, so only be there for himself (showing an angle, staying there in this corner, not really committing maybe? But is good as well, brings a frame – or an angle? – to the table, right next to the wine corks).
So –eventually – very few, but a beautiful bright group, can be ‘ i ‘ … : all ofYOU, is all of me comma ‘ i ‘.
Wasn’t it like that with your ‘YOUs’, in Berlin many years ago, sharing, inspiring, and flowing in a state of flux? That was real life, life together with a community of YOU(s).
Colours of flux.
Blue for the day.
Red and orange to drink and eat.
Green for money.
i–1.(Works and words with ‘ i ‘):
Your fascination for the letters.
The semiotic, the semantic, the shape, the outline.
The Concrete Poetry.
The form, the content of ‘ i ‘: the most (apparently) insignificant letter, there’s a line and a dot.
‘ i ‘ seems to react to the seventies, when the ‘me generation’ was about self–absorption. People were concerned solely with themselves.
‘ i ‘ as a character, as graphic sign looking like a person, mirrors the artist. Mirrors the person.
‘ i ‘ is the good letter to start from. To turn the table upside down, revolving around a sense of ‘me’ as collectivism.
We were having coffee and we were speaking about the ‘me generation’ in desperate need of irony: an irony led by the urge to invent, with playfulness.
One had not to take one self so seriously, than each idea is lighter, comes across smoothly and takes shape vibrantly, goes directly where it should. From the hyperuranion of a merely intellectual thinking to a deeper understanding: while sharing.
Humour must be there, a visual one as well. As Emmett said: a ‘cosmological humour’, so a kind anybody can grasp and play with. Like an encounter between cultures and people, where the best things in life are still free.
Dieter Roth told you once that an artist should have 10 ideas a day. I believe you get much more than that, Ann?
Any image –to you– can be shaped by super–imposing words or your very self on pictures, in your works.
Further on, typography and calligraphy are drawing the outlines. The colours cyan, yellow, blue and magenta are blending while the thinking process organises them in a rainbow.
A system of meta–meanings is there, where the colours are the symptoms. And from the idea on, you embrace the unexpected, the intention is there, but the outcome is untamed.
The instructions, the process you have in mind, permit a trace to direct your ideas, recording the path.
So the flow is there, not hidden but unravelled through your diary: those 2 meters and 30 centimetres of colours hold within an entire world of references.
i–2.(More word with ‘ i ‘):
You write since a long, long time a diary each and every day. You write about yesterday, today.
The diary is a diary of names and encounters.
One after the other, after the other, times others, times colours.
The colours are occupying the different hours of the day: IN VINO VERITAS, interlacing inputs.
One is what one eats.
There’s identity and encounters of minds in your diary. Flowing as in a CONFLUX : when artists are living among others, a real life, reciprocity becomes a mutual duty, oscillating the basis, inspiring each other.
The colours of FLUXUS are colours as people.
i–3. ( ‘Incognito improvement, ‘ i ‘, ‘ i ‘, …performances as act of a reluctant you…):
Being Incognito aims to a hidden signifier, the wish in there, revolves around a self–effacing desire.
But the public is too important. It engages. The performance is the duration of an act and it extends to the viewer.
Many words can define us, many can describe an ‘ i ‘.
From the visual poetry, through the act of printing and following a constant progress of ideas, the words are formed.
They punctuate your performing act.
Reluctant to perform, but there by choice, you are moving and speaking in front of you(s). The nuances of the words are activating your ideas. You do something that is you.
Animating contents, you create recipients of your perception among the people in the public. The flux involves the person, relying on the element of constant change to meet an unexpected outcome. The improvement happens through a process and there… following the score, there you are.
Overall, I asked you questions in this letter of mine. Some ‘ i ‘s are there, but as often happens, there are more ‘ ? ‘ s.
But if you think about – i know you know better than me– the question mark isn’t an upside-down ‘ i ‘ ? Only a little more curved.
(i saw it in your works as well. i like its shape)
Maybe is just that the ‘ ? ‘ was up until late last night. So it feels a little upside down, and stands loosely. Like me today. Like when one asks oneself questions at night.
Author of the interview Stage and Meta-Stage: the superimposed subject matter, Interview and curation for the section Contra DOC! and DOC! talks , presenting works of Shozo Shimamoto and Zhang Huan , with the interview to Prof. Hans Peter Kuhn, October 2018
Chiara Valci Mazzara: Hans Peter, during your career as artist and composer, producing a vast body of works consisting in sound and light installation, radio plays, composed film music, music and environments for theatre and dance, you had the chance to collaborate and create settings in the frame of performing art as well. Moreover, given your early start as composer and performer, you surely must have kept and projected this experience and heritage onto the process of creation of performing art environments and music. Would you tell me about your role and about the production during the performance art happenings? (experience with Junko Wada for example.)
Hans Peter Kuhn: Performances appear already pretty early in my life, during my time at school but, surely, at least since 1975 when I joined the Schaubühne am Halleschen Ufer in Berlin. Of course this was a playhouse, not so much Performance Art – at least until Robert Wilson came and did his first European production of Death, Destruction & Detroit in 1979. In my eyes this piece belonged more into the realm of Performance Art, than to traditional theatre, with all its abstract use of language and the presentation of images, rather than narratives.
In all the years I worked with Wilson (until 1998) and, as of 1989, I also worked with dancers, it was always my main role to create the sound environment and music for the pieces. But through my experiences as an installation artist, I also have a strong visual aspect in all my works, and for that reason, I also often create the set design and the lighting for the pieces.
When working with my wife – the painter and dancer Junko Wada – we create the pieces sort of together, simultaneously, by rehearsing and creating at the same time in the same room. This allows the productions to appear as one thing, although the ideas come from 2 people. The content of these dance pieces is mainly abstract and non-narrative about movement and sound.
CVM: What, in your eyes, are the media that are documenting and, more precisely – representing, the eligible form in which performance art develops into a progression where photography (for
instance) is not anymore only documentation but, instead, is the actual – or one of the main – form to deliver the content and the concept of a performance act/work?
HPK: The difficulty of documenting a process in space is obvious, same is true for my installations, where the site itself has a huge influence. In performance work, as in installations, the documentation – no matter what media you use, it is true for video too – are very limited in what can be shown. Even in the best photos or videos you only get a section of the whole. As one cannot tell somebody how a performance was – or at least only in a very reduced way, there is no real way to document these kind of productions. But what photography can do, is to highlight a situation, to give an impression of the intent or the quality of the work. The best photographers manage to get just that moment of a performance where all tension is presented. That is when photography makes sense in my eyes. So not so much as a documentation (although we all also use it like this) but as an art form itself, creating something beyond the straight concept of documentation. That is something that is very valuable for the performer as an outside look, but with an artistic intention, creating an artwork on the artwork, so to say.
CVM: The series Foam by Zhang Huan is one of the works of the artist, which is conceived only and exclusively as photographic. Huan’s production includes, together with performance, photographic works, installations, sculptural works and paintings. In this series, consisting of close-ups of the face of the artist covered with foam, he is holding in his open mouth photographs, old portraits of his wife’s family. He is using his very own face as a frame to hold memories and history. A picture within a picture. What looks like a performance documentation – even if the close-ups suggest us that a specific visual rendering has been planned and structured – is in fact staged for the series of photo.
I wanted to ask you, in which moment do you think the ‘stage’ as we all refer to in Performance Art, becomes the body of the artist, and, in which – as in this case – his own face?
Which ones are the characteristics of the stage located above architectural and/or spatial measurements?
What are the features standing beyond the stage per se’, which Huan translated while deciding to use his face as a stage?
HPK: Well a stage is an elevated space where one can present something, a space separated from the other people – the audience – who have the possibility to listen to and watch this presentation. The stage lifts the performer above the rest, there is a very clear distinction between auditorium and stage, not only in classical theatre settings, also in simple black box or white cube situations where one person presents something. The stage allows to show an alter ego or any other possible character, and that is not only true for actors, in a classical sense. This is true for anybody on a stage, be it a musician, performer, scientist, lecturing teacher or a businessman presenting sales numbers. A stage gives the person on stage an authority, simply through the command over the time spending. The performer makes the people stay until the show is over (at least he/she hopes that it will happen so). It is the performer that sets the rules: come in at 8, have a pause and a drink at 9, come back in at 9:30, applaud and leave at 10:30. Completely set. But of course this is true also in less rigid schemes. Any performance has this kind of agenda. And being on stage everyone is a performer ruling in people’s life.
So using one’s body parts as a stage, creates another layer to this. On the one hand the performer creates his own support but, more important, her/his body becomes an authority that sets a distance with the others, the body is no longer the actual object to perceive but the carrier of an object or a message. And by this the superimposed object or message gets elevated into another layer.
But besides all this, the use of foam reminds of course of the myth of Aphrodite, who supposedly was born from foam of the sea, while here his family appears out of it.
CVM: In the series Foam, what looks like close-ups on core moments of the performance, are in reality staged moments during production, anticipating the creation of the sequence. Huan set up a ‘meta-stage’ for his work and created a meta-performance to realize a photographic series. His mouth becomes the frame of family photographs. Shimamoto’s photographs, on the other hand, create a new, under-laying basis – a new canvas(?) – for his splashes. How do you thing a work of art changes when the original support changes, especially if the new support is a photograph?
HPK: I think – as I just said – that the meta-stage is already there through the usage of the body as a stage for the work. To perform this – not “live” in front of an audience, but rather “staged” – to have it photographed, lifts this to another level, because it is no longer the performance itself, it is the concept of the performance that is presented. But since it is a series of photographs, it gets a performance style character, in which time obviously passes by.
CVM: The images of Zhang Huan, as an expression of the self and staged on his own ancestry are visually meeting the series of photographic works of Shozo Shimamoto. The two artists are encountering each other in the use and development of the shapes of their heads: front close-up for Huan, back silhouette for Shimamoto. Both artists are conceiving an encounter between their performative act and the use of photography. In the series of Shimamoto, as well, the stage becomes the silhouette of his very own head and the splashes of colours – the witnesses of his practice – are now being developed in a photographic act. The stage – his cranium – and the light are masterfully used to realize this exclusively photographic works. What do you think about the evolution of the stage and the light used by Shimamoto? What are the specificities of both artists’ re-invention of the stage that are, in your eyes similar or different?
HPK: I think Shimamoto uses his head rather as a projection screen, while Huan changes his face physically. And the splashes of colour also hint towards a screen rather than a stage. Huan uses the face, and although these are photographs, it is a much more three-dimensional impression than the photographs of Shimamoto, which are clearly two-dimensional. Specifically, the photograph showing onto a background of buildings seems to be a straight projection, and, although it shows a bit of the curved skull, it looks mostly flat. So in my eyes Shimamoto does not make his head a stage, but rather a screen but I guess it is pretty understandable, since he did all these performances and the photographs are rather a different layer in a different media. Also, in contrary to Huan’s photographs, there is not really a performative aspect. They are stills, that get even more still by the color splashes, that obviously are done onto the existing image. They are not part of the image of his head, while Huan’s pictures in his mouth are directly integrated into the landscape of his face and the different small pictures give a timeline, with slightly changing content, as in performances. Shimamoto’s stills are pictures that remind me more of Gerhard Richter’s overpainted photographs. They stay pictures.
CVM: In your perception, having worked with your wife Junko Wada, artist and performer, realizing together performative happenings and you realizing the landscape and the sound, which one is the role of the body when it comes to be, as for Huan and Shimamoto, the stage of an act, functioning as landscape for the photographic works?
HPK: I think only in Huan’s work I directly see this landscape character. Also the fact that his face is covered with foam creates a hybrid landscape of his natural features and the random and artificial distribution of the foam. Shimamoto’s photographs are rather like a map of a landscape.
CVM: Which one is the importance of photography, when it comes to be not anymore a development of the performative documentation but is rather conceived as an actual art piece meant as a photographic work?
HPK: Shimamoto’s pictures are certainly further away from a documentation than Huan’s, they left the stage completely and don’t even try to be one. It is a distinct different level or layer than the performances that probably were the base for these photographs. Although the paint on these images come from his performance process, they still are part of a projection and not a direct documentation.
With Huan’s photographs it is different, they show much more the sequence of images of his performance, but due to the large number of similar pictures with only small differences (different photos in mouth/foam structures) They create a meta-structure and by that a new image that is not itself performative anymore nor a documentation but adds by multiplication a greater distance to the original performance and become a photographic artwork.
CVM: Thank you, dear Hans Peter!
Author of the text: The state of flux of the movable content: Henrik Strömberg in reference to Man Ray, text for DOC! Photo Magazine, section contra DOC!, March 2018
Henrik Strömberg’s work starts with the quest for a new signifier: interlacing sources, re-assembling and re-evaluating objects (trouvé)he acts on the form while changing the content.
The medium of photography and the system of connections between the represented subject and the final result is only the beginning of a journey.
By performing his usual ritual, opening and closing, the shutter reveals a new artifact in which new semantic cross-references appear to the eye. Strömberg initiates a thought, an idea, as a possible dialogue: by adding new allusions he questions the medium and challenges the content.
Within the process, the subject – outcome of a re-assemblage of elements or cut-outs – as a pivotal body, reflects different nuances of various signifiers, therefore contorting the habitual coordinates. The meanings are, then, acquiring new values through a drift and, as a result, the object is dislocated from within.
This leads to the perception of the viewer to be altered, prompting the pursuit of many graspable interpretations, each one equally possible.
It is impossible to calculate the result of the content’s reconstruction, sinceit presents itself as the heritage of the objects’ past life, joined with their new manifestation – all given by the process to which Strömberg commits consistently.
Ultimately, his photographic works, as well as with his collages, are picturing, at the same time, the evolution and the outcome of an action, while other signifiers are now challenging the viewer to a new dialogue. The strength of the result appears in each piece, where receding to the new forms, the works are delivering a poetic yet sharp innuendo.
In Strömberg’s pieces, the pictured subjects are not the only foreground protagonists, but also the different levels of space and depth, which are suggesting a wider interpretation and create a surreal landscape.
The evidence of the “re-assembled” object/s (trouvé/s) materializes as vibrant and forceful, subordinating to no obvious reference, placing the ‘trigger’ of an idea.
The evidence of Man Ray’s objets trouvésleans to the use and re-evaluation of everyday objectsas the subjectsof his photographic works. Natural or man-reassembled pieces, they are kept, bought or found thanks to their intrinsic value – with none or minimal alteration – therefore seen and celebrated by the artist.
The signifier being steady, the intervention consists in the action of choosing the object and relocating it as the protagonist of the photograph. Frequently the title of the work itself, as for Tête trouvée sous le lit,allows to recognise a move, a discovery, a choice taken by the artist. The process is, therefore, the act of choosing, to which the outcome of the depiction commits. While the original content persists, the vibration of the meaning is enhanced by the medium.
Furthermore, the final rendering acquires an additional system of references through the gelatin silver print, the chromogenic materials and the process, out of which the black and white photograph earns its strength.
Enigma II – which refers to The enigma of Isidore Ducasse assembled in New York in 1920 – is the evolution of a choice, the outcome of an action. Its roots can be found in Man Ray’s Dada objects related to Marcel Duchamp’s ready-mades. Duchamp had, for instance, wrapped a sewing machine in an army blanket and tied it up with a string. As most of the pieces produced by Man Ray in the late 40’s, the process was meant to produce an unusual artifact, subject to an open interpretation.
This photograph of what appears as a mysterious entity, relates to the surrealist vision of what lays beyond the curtain of a rational system of references.
The action is vivid in this work and the content is questioned. Hiding the object, the protagonist becomes the artifact produced by the addition of fabric and string.
Early works by Man Ray (e.g. the collage series Revolving Doors(1916-1917)) present themselves as the proof of the multifaceted oeuvreof the artist. He challenges an alternative perspective, given by the use of a two-dimensional rendering. Moreover, Man Ray explores the mechanical means of the creative process by assembling other figurative collages as, for instance, Dance(1915) which “showed what seem to be two mechanical-looking figures, evoking tailors’ dummies, performing stiff-legged dance movements.” *
Man Ray states: “The concern of a period of time often leads to the disappearance of material space. That is what the images in two dimensions shown here tend to prove; by a mutual action, they give birth to a series of events escaping from the control of all diversion. ‘
New York, 1916–17
The two artists connect on the level of creating by mutual action, enhancing the two-dimensionality by -as Strömberg- using the relicts of cut-out negatives and intuitively assembling them within the creative process in his collages and his Compost(ed) landscapes.
With the project The Compost, Strömberg refers to a wider angle, where the symbolic meaning is not graspable anymore by the acceptance of the role of the objects themselves.
The quest for an unexpected outcome, realized by overlapping layers of cut photographs, polaroids, negatives, photocopies and objects is vivid and encouraged by placing them together as a surreal watermark. Together with Jens Soneryd, the artist broadens the edges of the works. Working on written words, Soneryd pictures a beginning and and end, the inner content and a poetic response.
As for Lacan – quoted in The Compost Manifesto- the real concerns the need whereas the imaginary concerns the demand.
The symbolic, then, is all about desire. The question remains open.Interpretation awakens the dialogue between the two artists.
* Grace Glueck, “ART REVIEW; Emmanuel Radnitzky, Before He Was Man Ray”, New York Times, March 7th, 2003.
.Author of the text Bianco Deserto, as essay about the work of Fabian Albertini, published in DOC! Photo Magazine, section contra DOC!; Dec.2016- Feb.2017
Fabian Albertini has dedicated her life to photography and she is now approaching a new perspective choosing to explore a new bend located between her special use of the camera, painting interventions and art installation, experimenting with new techniques and media. Looking for a multidimensional rendering, she matches photography and different materials creating artworks characterised by a special fascination. In her latest works the artist is locating an alternate visual depiction by crossing the borders of the printed photography. In the Bianco Deserto series, her achievement to remelt herself with the nature is setting her approach free to compare different media while producing her series of works. Through the depth of field and by observing the space, she aims to get closer to a deeper encounter between content and meaning. The result is a lyric poem of landscapes enriched by the use of material such as concrete converted as a new tool to explore the different texture of an object. Fabian is actually creating a new bi-dimensional rendering of her works.
While constantly representing mesmerised parameters of the natural scenery, she is not outlining the boundaries anymore. The photographer is leading the spectator to grasp a deeper bond with the content, focusing on the oscillations of the forms.
The shutter opens and starts the capture of images translating the light, shadows and shapes with a wider and strong perspective. In this series every detail represents a turning page which is leading the viewer to observe a hypnotic landscape, coherent and smooth in terms of form, enriched in terms of research about depth and content.
This meaningful research led the artist – perceiving herself as a pioneer – to a deeper consciousness of her work. Going back to the use of the white as achromatic non-colour, she craves to reach a sheer rendering, above and behind our reality perceived
– for the artist – as currently overloaded by visual information, images and colours. Extinguishing the use of colours, getting back to the purest variations of the light and to a mono/non-chromatic choice, Fabian aims to grasp the visual borders between photography and painting. Crossing them and developing them at the same moment.
By using such material as concrete, while working in post production on her photography, she is unraveling the internal borders between two media, discovering a multifarious portrayal of her landscapes. Her research about light and shadows delivers her mesmerised sight to capture the shapes and perspectives, evaluating surroundings, forms and panoramas. Fabian translates for the viewer a poetic dimensions in a time lapse portraiture of the scenarios. The evocative result is delicate as much as powerful, a renewed beauty translated in an awe-inspiring sight. In her research she is emerging as exegete of a deeper perspective, of a precise sight which is about atmospheres, visual contrasts and poetry. The artist is an aware witness of light, space and meaning. In her production she is representing a cross-talk between evident and intangible. As suspended in an alternate state of perception, the details she is choosing to depict are getting the main role representing a wider and delicate interpretation of phenomena, conveying the awe of the moment.
The Bianco Deserto (eng. White Desert) represents the latest research of Fabian: her new approach to photography and to the different materials she is using in post production. Sensing our surrounding as an unescapable and invasive jungle of concrete, the artist aims to re-evaluate the material. The concrete is turning into the new media, a tool, a colour which is an enrichment to the visual value as well as the conceptual strength of the series. Text by Chiara Valci Mazzara