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"The Larson Effect"
2001-12-08 until 2002-02-07
O.K. Center of Contemporary Art
Linz, , AT Austria

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


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