The Larsen effect, named after the Danish physicist Soren
Larsen (1871-1957), describes a phenomenon familiar to
many concert or conference audiences: holding a
microphone too close to a loudspeaker produces a
high-pitched tone, rapidly increasing in intensity, which
can lead to a breakdown of the sound system. This effect,
also called feedback, serves as both title and metaphor for
an exhibition of works of which some have been newly
created by 16 artists from three generations.
However,
the subject of the exhibition focuses not so much on the
'resonance catastrophe? of the Larsen effect, as on the vital
and dynamic character of contemporary works of art,
which interlink various components and whose mutual
association, closeness or involvement give rise to
something new.
This appropriation, reorganisation or reordering of the
material world opens up to the observer a field of
associations full of contradictions: a dissolution of time and
space, a relativization of facts, a shift of local specificities.
In addition to classical media like drawing, photography
and sculpture, the exhibition also includes multimedia,
video and performance works.
The content and context shift is also expressed in the close
cooperation between the two host institutions in Linz and
Luxembourg. The feedback acquires a geographical
dimension, which becomes evident in the reorganisation,
sometimes even modification of certain works, due to the
nature of the premises at the two exhibition centres.
A richly illustrated catalogue, which will document the
works from the two exhibitions, will be presented in
Luxembourg in May 2002. It will feature essays by Franz
Xaver Baier and Geneviève Mosseray, contributions by
Moritz Küng, Enrico Lunghi and Martin Sturm, together
with a glossary of terms.
ARTISTS:
Sven Augustijnen (1970 / B)
Erika, Guido, Johan, Rudi..., 2001
Manon de Boer (1966 / NL)
Mind Mapping, 2001
Pierre Bismuth (1963 / F)
Alternance d'éclaircies et de passages nuageux
l'après-midi, 1999
Link, 1999 (production)
Gerhard Dirmoser (1958 / A)
Denken - Ein Netzwerk, 2001
Performance Art Context, 2001
Dan Graham (1942 / USA)
Yesterday / Today, 1975
Margarete Jahrmann (1967 / A)
Max Moswitzer (1968 / A)
Objectiles, 2001
Daniela Keiser (1963 / CH)
Felloni & Buonvicini, 1999
Dieter Kiessling (1957 / D)
ohne Titel / untitled, 1997
Ken Lum (1956 / CAN)
Mirror Works, 1998
Matt Mullican (1951 / USA)
Psycho Architecture: Experiments in the Studio
November 5th - 7th 2001
Untitled - Bulletin Board of Vintage Photographs,
1971-2001
Untitled - Bulletin Board of Working Database Material,
1995
Boris Rebetez (1970 / CH)
ohne Titel / untitled, 1998
Daniel Roth (1969 / D)
Untitled (Mansfeld Connection), work in progress,
2001-2002
Simon Starling (1967 / GB)
Blue Boat Black, 1997
Mitja Tusek (1961 / SLO)
Frühstück zu Linz, 1999-2001
Keith Tyson (1969 / GB)
Recursive CPK Gameboard no 1 (Central Processing
Knot), 2001
Peter Zimmermann (1956 / D)
Retrospective Boxes, 2001
IMAGE:
Boris Rebetez
untitled, 1998
C-Prints,
80 x 120 cm
Collection Artconcern, Kortrijk
Courtesy of: Deweer Art Gallery, Otegem
Related Links:
Quick Arts
Access:
Vienna (83)
