• Zeller van Almsick 3 Franz-Josefs-Kai Wien, Wien, 1010 Austria

Upon entering the exhibition, Julian Palacz’s ‘Fragmentierung Variation 1’ is the first work to catch ones eye. The piece is suspended from the ceiling and depicts a superhumanly tall visualization of fragmented data storage. Taking a closer look, the view outside is being filtered by the fine black lines - a coded visualization of the virtual world that surrounds us. 

On the walls to the left and right of Palacz’s work, you will find paintings by the artist Agnes Fuchs. The works are based on representational forms of technical devices. The devices and laboratory equipment can be attributed to a time when there were no high-performance processors. To a trained operator the associated functions of the devices could only be identified by way of specific instructions, typology or serial numbers. 

As Franz Thalmair states, Agnes Fuchs examines the contexts of technical instruments by analyzing their visual and conceptual realm. It is a combination of painted writing and written painting and thus a form of coding chosen by the artist. The term ‘analogue’, which is found on „ANALOGUE TUTOR TY 963/02“, is a reference to a transitional stage of electronic devices, when digital was still denoted to a specific kind of display and not an omnipresent fixation of our everyday life. 

Turning around towards the entry hall, one sees ‘Fragmentierung Variation 2’ to the left and to the right of it ‘Memory Objects’ by Ulrich Nausner. While Palacz visualizes the analysis from a non-present server unit, Nausner approaches the digitized world from its representational side - he uses standardized 19-inch server cabinets, or rather their barrier installations, and supplements them with blind panels. The panels represent vacancies for their actual function: the server units. This omission illustrates the formally indicated binary tension between data storage and informational gaps. Both of the works have in common that they leave out the most important interface: the hardware with which data is used as virtual memory. 

Whether Julian Palacz‘s fragmentation variations and his movement study, Agnes Fuchs paintings or Nausner‘s two work groups - all the works circle upon the fascination with technology and digitalization. It is the artistic act, the nature of the coding, the omission, or, at all events, the abstraction of the different processes, which make it fascinating for the viewer.

March 23
May 22