sol andersson
log 003

Last weekend I went to see an exhibition of the artist Tony Oursler at Magasin 3, Stockholm. It was one of their ‘re-visits’ of individual artists represented in their collection.
Most of the works were from 2002 with a few exceptions. I think it all came together nicely and although technology has advanced so fast the last 15 years it wasn’t the works in itself that felt old but rather some of the technical solutions, not to mention the sound that was really not even worth to be bothered with. That I’m afraid, is not on Tony Oursler. But as he himself writes in the article Pop Dead Pictures (2002)

Tony Oursler, Caricature, 2002. Photo: Anna Kleberg

‘In subsequent works knocking has morphed into the idea of the transmission process: messages, images, ideas, objects must be sent someplace. The material must be encoded, transmitted, received and decoded in another place. But of course, this is impossible. Distorting media specters abound in the electromagnetic spectrum and everything gets mixed up, lost, trans-mutated, and miscoded. Technology ghosts everything. We base much of our world on this fragile means of exchanging information. Somehow communication occurs in spite of the obstacles.’

I find his works particularly interesting the way he uses differ
ent techniques as projections, sound and sculpture and merge them together into something else. A new object. I’m not sure the artist himself looks at it this way or if the works merely functions as representations of his ongoing investigations in camera obscura, facial recognition, psychology and supernatural dimensions etc. I don’t really think it matters that much, either you like something or you don’t. A multimedia artist works with the latest technology and creates new applications within their area of expertise. Having technology and moving image as focus I can understand that it makes sense for him to call himself an multimedia artist even though he has a interdisciplinary practice.

March 30, 2017


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