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EXIT - physically present, mentally not
„Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable.” Sol Lewitt, Paragraphs on Conceptual Art Snaps of exit signs: deliberately affectless, depersonalized, repetitious. Ubiquitous snapshots, that became the most common type of photography, have developed in contemporary art into a coherent pictoral strategy featuring the sensory presence of everyday life. Florian Reinhardt has shot, over a period of almost 10 years, altogether 1024 exit signs from all over the world. He photographs with the iPhone camera: a spontaneous gesture, not planned and not staged, always emerging from a specific situation. He refuses to use any different camera than that of a smartphone, since for him the act of snapping a photo needs to be impulsive and at the spur of the moment. The majority of the signs are shown as close-ups, with no further references in the background – they deprive the viewer of any sense of scale or cultural reference to the environment since exit signs have become global, regardless of a country’s language. In a world overwhelmed by signs, Reinhardt focuses and delivers the view of an inverted telescope on mundane and omnipresent signifiers of daily life. These signifiers, be they exit signs, words, arrows, circles, squares or pictograms, are universally understandable. In his present series, Reinhardt universalizes exit signs, framing their type as if they were specimens pinned onto a card. In this context, the Exit series is to be understood as a reception of both Ed Ruscha’s proto-conceptual approach to photography and of Duchamp’s appropriationism. All three artists apply the iconoclastic principle of Dada by displaying images of so-called readymades: industrially-manufactured objects shown with no alteration. This form of transgression and appropriation of everyday objects was most prominently employed in pop art. Reinhardt’s collages of 25 images as a direct reflection on Warhol’s genre of multiplied and repeated portraits, which he referred to as the ‘assembly line effect’. However, Reinhardt takes the abstraction of Warhol’s critical reflection on uniqueness even further, by using identical images. Reinhardt’s exit signs, seemingly objectively accumulated without a conscious imposition of artistic selection or hierarchy, are unlike Ruscha’s series a narrative character, and are thus subjective and breaking the boundaries of documentary and dipping into conceptual art. The photographs are complex and layered: over the affectless, depersonalized, repetitious of never-ending industrial exit-signs comes the narrative layer of the contextual physical act of photographing the images. Each exit signs corresponds to an exit situation, narrating a particular moment in time, of instances of being physically present, but mentally not. As a consequence, Reinhardt’s photography is not only an archive of readymades in a Duchampian sense but also an archive of subjectiveness as formulated by Theodor Adorno’s notion of mimesis. On this conceptual basis, Reinhardt decided – in cooperation with curator Anne Avramut – to design the exit series globally and participatory: in the course of the exhibition at the Rudolf Budja Gallery a platform will go online on his homepage (www.exit.art), where everyone is able to upload his/her own exit sign photographs and inherent story and whereby these collective means an Encyclopedia of Exit will come into existence. Florian Reinhardt works all over the world and lives in Cologne. Anne Avramut FILIPPO LAIZZINI MUSICIAN & MEDIA ARTIST. BORN ´82 IN LAHNSTEIN. GERMANY. Grew up with his mother and two sisters in a rural area near Koblenz, Germany. At an early age he began a career as a competitive athlete with the goal of becoming a tennis professional. At the age of 18 he made his first EXIT and ended this project. He finished school, refused military service and moved to Bristol, England, to study ‚Creative Music Technology‘ at Bath Spa University, from which he graduated with a Bachelor of Arts. For several years he gained experience as a sound engineer in the context of commercial record productions in order to later deal increasingly with sound design and film scoring. In 2009 he moved to Cologne, Germany, and joined a TV production company. There he composed series and commercial film music and set up a post-production department. His focus was increasingly on moving image processing and as a result, he was significantly involved in the design and production of a large number of successful German TV projects until spring 2020. With the advent of the corona pandemic, he left the production company and Cologne. Since then he has lived and worked on a friend’s sailing boat and traveled the world's seas. Change of perspective. EXIT.
Composite artistic relations created as a product of the study and influence of physical theories on fluid dynamics, subatomic phenomena, theories of refraction, cybernetics and interventional combinatorics set a paradoxical mix of organized chaos that gradually summarizes the constructive elements of the offered scene, as well as all features of decoration and functions. The concurrence in the simultaneous painting processing and drawing principle of dense concentration of line relations has the goal of emphasizing the destabilization of perception during rotational motion by using visual methods of experimental electromagnetic interactions and wave-transmitterings. The linear approach to the cyclic movement and the illusion of rotational motion on a static surface known from the methodology of futurism and later op-art, leads to the conceptual challenge of the inert position of classical drawing, which is generated on a formal-stylistic level through the representation of moving images, although limited by the conventional framework of the classical medium. With this series of drawings and paintings, the author presents kinetic visions of the symbolic whirlpool as a platform for universal confrontation by studying the basics of acceleration and aerodynamic resistance, with the intention of artistically integrating resulting movements, rhythms and vibrations. The interference vortex of re-examined rhythmicity leads the whole depiction by absorbing the surrounding visual elements into its own violent organization of mass, volume, oscillations, as well as the reciprocity of contrasts, while using the seemingly limited mobility of drawing method as a mean of shaping and expressing opinions and attitude about the exact composition and provoking the formulation of the question about the problem and/or the phenomenon of the resistance itself as an originator and a necessity.
Visconti Fine Art - Collection
Valério Adami was born in Bologna, Italy on March 17th in 1935. He developed an interest in painting at an early age, and at the young age of 16, he gets accepted to the Accademia di Brera in Milan, where he pursues his studies until 1954. At the age of 20, he already has the chance to visit Paris where he meets both Roberto Matta and Wilfredo Lam. Both of the painters encourage him to develop his talents as an artist. Between the years of 1955 and 1965, Adami constantly travels between Italy, Paris and other, mainly European cities, interrupted by brief visits to New York, South America, and India. His first one-man exhibition is held in Milan in 1959, and since then Adami has held numerous exhibitions all around the world. One of the most prominent of these was his full-scale retrospective held at the Musee National d’Art Moderne at the Pompidou Centre in Paris in 1985. Adami also realized the feature film “Holidays in the desert” together with his brother Giancarlo. In 1978/79 he creates paintings with primarily mythological themes. As of 1984, his paintings are not dated anymore. Adami has managed to evolve his own iconography, an ingenious pictorial language that embraces both past and present, and within whose frontiers strange creatures keep company with famous faces from history: the author James Joyce, the French Revolutionary politician Robespierre, and the composer Gustav Mahler. Adami’s art also teems with figures from the great works of literature such as the knight Don Quixote with his faithful companion, Sancho Panza and the young Prince Hamlet preoccupied with gloomy thoughts of suicide outside Kronborg Castle in Elsinore. Visconti Fine Art has collaborated with Adami on various occasions, both through Editions and at various art fairs, where Adami was exhibited, around the world. One of these Editions is the SPORT AND ART, which was initiated in 1991 between Fascination “The Gallery of Modern Art” in Switzerland and Visconti Fine Art. Five internationally renowned artists, one of them being Valerio Adami (Italy) have created a limited edition of artworks, especially for SPORT AND ART.
The best way to spend downtime while stuck at home is to visit online exhibitions - and you don't even need to leave your couch!
Browse real, original artworks in virtual spaces or discover emerging digital artists in an entirely new dimension. The beauty of virtual reality is that it is limitless and so, on VR-All-Art, you can walk through virtual replicas of brick-and-mortar galleries or enter exhibition spaces that only exist online. Whether you have a taste for abstract painting or prefer to admire a sculpture up close, there's a little something from the art world for everyone.
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