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EIKON #54 (June 2006)
14,00 EUR
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EIKON #54 (June 2006)

Artists:
Barbara Caspar | Lukas Maximilian Hüller | Andreas Müller-Pohle | Rita Nowak | Eve Sussman

Languages | German / English
Format | 210 x 280 mm
ISBN | 3-902250-24-0
88 pages
“Photography has been, and is still, haunted by the ghost of painting,” Roland Barthes wrote almost twenty years ago in his legendary book Camera Lucida. This fifty-fourth issue of EIKON shows that this sentence is still valid today. But whether this is a friendly ghost or an unpleasant spook for today’s photography and media art is something that lies not only in the eye of the beholder, but above all in the hand of the artist.

When RITA NOWAK gathers her artist friends to cite the Old Masters, this usually takes place in an almost happenstance fashion. For her photographic mise en scène is allusion become image; with a lighthearted touch that pay reverence to their models, and in so doing achieve their own identity.

LUKAS MAXIMILIAN HÜLLER makes life a stage. His rotation camera allows a panoramic view that picks up from the tradition of Daguerre’s diorama—just as photography is based in the camera obscura—a theater with panoramas that is artificially animated using movable parts and light effects. Hüller’s current project The Seven Deadly Sins takes recourse to Hieronymus Bosch’s work of the same name, and transforms the theme and its symbolism to a language appropriate to our time, in an extravagant staging using photography and film.

The American artist EVE SUSSMAN also provides insight into the depths of human suffering when she engages with Jacques-Louis David’s pioneering historical painting Rape of the Sabine Women. This brand new work by Sussman, whose works are included is several prominent collections, will have its world premiere this summer. We at EIKON are pleased to offer a preview of this work that deals with seduction and abduction, presenting parallels between the ancient world and modern society’s utopian fantasies.

The young Austrian artist BARBARA CASPAR takes an entirely different, and nonetheless conscious approach to art history; her work constantly circles around social expectations. In her view, what art history has to offer has proven useless, purposeless. Video for Caspar serves as a technological medium of renewal, and she uses herself an experimental medium between the artistic and the social. The Danube is not only a powerful mythic system, it is also the river that ties Europe together.

The media artist ANDREAS MÜLLER-POHLE engages in his Danube River Project with the water surface as the line separating the space of the new Europe “above” the water, politically and economically under siege, and the neglected world “below.” By creating a blood sample of the river that reflects the political promise of the ten countries through which it flows, he places the Danube at the center of an artistic political discourse.

In Forum, State Secretary of Art Franz Morak speaks of his Slovenian roots, and answers Werner Rodlauer’s questions about cultural policy in this year of Austrian’s EU Council Presidency, while Adam Budak, Curator at Kunsthaus Graz, in conversation with Walter Seidl, talks about the current state of the Polish art scene.

Finally, in an extensive contribution Li Zhenhua, China’s most important media critic, provides an exclusive overview of media art in Beijing and discusses the link to Austrian media art, marking the occasion of a current project.

We look forward to seeing you again this year at our stand at Art Basel (June 14–18, 2006) and hope you enjoy this issue of EIKON.  

Elisabeth M. Gottfried
and the staff at EIKON
14,00 EUR
incl. 10 % Tax excl.


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