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GALLERY 2013

visual communication practice

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Description of idea

Describe your idea and concept of your work in relation to the festival outlines:

My collage consists of two motifs that are placed in relation to each other through one single cut. The pattern is spatially positioned such that the seam between the portions of its composition is almost invisible. The connection is made through visual similarities of form and color, which our eye follows. The power of this assembly technique doesn’t show until one has realized the transgression of one’s own eye, when behind the ballet stage one recognizes the production site for turkey meat - and begins to search for the boundary in the image which separates the aesthetics of the stage from the violence structures of reality: insanely subsidized factory farming for the refuse container.

What kind of communication approach do you use?

My aesthetic strategies are derived from the history of the image in the 20th Century, when at first the photography-based medium film dominated the imagery. The central "instructions" of film are movement and montage, in which the world reveals itself not only as given or past (as pure illusion of space), but as a procedural and changeable reality (as a task). In the case of my work the art of acting consists in an appropriation of the techniques of film, which however no longer lead to a social utopia, like in the works of Eisenstein or Benjamin. It is based rather on a work on the visual signs or the figurative meaning-making processes that take effect in perception: a semiological adventure of the image - without stripping the photographic reference to reality.

This reference remains present as horror, be it in the blurred depth of space that the viewer fills with his knowledge of the industrial animal production, or in that visual shortcut which grafts the head of a turkey onto the body of a dancer, opening up a third space, that of the freak show.

What are in your opinion concrete benefits to the society because of your communication?

The creation of awareness regarding industrial food animal production

What did you personally learn from creating your submitted work?

I finally became a vegetarian.

Why is your work, GOOD communication WORK?

Because it supposedly tricks the viewer into seeing something he or she is used to overlook.

Where and how do you intent do implement your work?

The work was shown at numerous exhibitions and space interventions, for example in 2005 in Bremen (Germany) as a banner hanging from the ceiling of a shopping mall. Other implementations include a Thanksgiving Ball and the thematic exhibition "Greenwashing" in Berlin in 2013.

Did your intervention had an effect on other Media. If yes, describe the effect? (Has other media reported on it- how? Were you able to change other media with your work- how?)

Back cover and review in "Ästhetik & Kommunikation. Heft 133. 37. Jahrgang. Kapitalismus mit Messer und Gabel" (journal on aesthetics and communication, issue on "capitalism with knife and fork")


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Entry details

Title

untitled


Headline

Any chance collision and I light up in the dark


Concept author(s)

Stephan Groß


Concept author year(s) of birth

1979


Concept author(s) contribution

creation of artwork


Country

Germany


Competition category

visual communication practice


Competition subcategory

static


Competition field

nonacademic


Competition subfield

artist


Subfield description

The impact of my two-part photo collages stems from the confrontation of heterogeneous atmospheres, gestures, representation methods and perspectives, whose mutual interpretation is enforced by the formally coherent composition. The section is sensitive to the colors and shapes of the photographic material, emphasizes analogies and transitions, thus creating the illusion of a homogeneous image space in the hybrid result. My works deal with the artistic transformation of print media, concrete poetry and installation. Participation in national and international exhibitions and art projects. I strive for resonant duplications between artifact and reception context, thus customary artistic "flatware" can also adopt the character of a spatial intervention. I am living and working in Berlin.