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Christoph Meier

untitled (Stage-Studio-Picture), 2010

exhibition period:

June 3 - September 26 2010

exhibition space:

OK Offenes Kulturhaus

born in 1980 in Vienna, lives in Vienna
www.christophmeier.net
 


Christoph Meier, »Setting#15«, 2009

diverse Projektoren, Sockel (aus dem Inventar des Nam June Paik Art Center), variable Dimensionen / diverse projectors, plinth (from the inventory of the Nam June Paik Art Center), variable dimensions

Ausstellungsansicht / Exhibition view: Nam June Paik Art Center, Seoul / South Korea, 2009

Foto / Photo: Christoph Meier

 
Christoph Meier plays around in conceptual terms with forms, materials and discourses and he does it like a virtuoso – which is no surprise in view of his training as an architect and artist (under Heimo Zobernig) and his careers as co-editor of the magazine BlackPages and member of a (high-volume) music group made up of fellow artists.

For his installations and sculptural arrangements Meier carries out »contextual research on materials« and makes use of everyday objects, objets trouvés and artefacts made by artist friends, whose inclusion follows on from specific contexts and translates into changes of meanings and motifs in the course of their confrontation with additional elements. Despite the rigour that Meier’s work is known for, it is also open to associative and partly humorous references and media-analytical pictorial positions. These are the attitudes that also inform his work untitled (Stage- Studio-Picture). What Meier has in common with the French artist Benjamin Laurent Aman is the interest in experimenting and in content-related exchanges, which also comes to the fore in Aman’s statement on the work shown in Linz: »Beyond the colours, shapes and abstract art history connotations, I was surprised by the presence of the projectors and the dialogue that starts between the projectors and the screen. I was curious by the way they coordinate each other, how the screen gets defined by the position of the projectors and how the projectors are set up following to a picture; a painting somehow. The way they look to each other is very interesting, how the space between the screen and the machines stays on the edge between dialogue and monologue, and how you don’t know where to stay, as a visitor. Timewise, it’s a very lost piece.«

(Sandro Droschl)

 

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