THE TRUE SIDE OF TRUTH
Year: 2018 / 2020
Location: Penninsula Gallery, New York
Material: traffic cone, styrofoam, putty, paint, varnish, plastic cup, gemstone, print, wood, varnish, stones, concrete, iridescent plastic tape, two-channel video
The true side of truth, (Fact 1) traffic cone, styrofoam, patty, paint, plastic cups, gemstone
The true side of truth (Fact 3), 2017, traffic cone, styrofoam, patty, paint, iridicent laquer, ca. 30 x 30 x 60 cm
The true side of truth (Fact 2), traffic cone, styrofoam, patty, paint, ca. 30 x 30 x 60 cm
The true side of truth, exhibition view, Penincula Gallery, New York, 2017
The true side of truth, two-channel-video, #2, Videostill
The true side of truth, two-channel-video, #1, Videostill
The true side of truth, two-channel-video, #1, Videostill
The true side of truth (good alternatives), 2017, 40x40x25 cm, iridicent plastic, concrete, stones
The true side of truth, Cone l (POWER), 2020, 35 x 60 x 20 cm, traffic cone, styrofoam, patty, paint
The true side of truth, Cone l (POWER), 2020, Detail
The true side of truth (Based on transparence), 2017, wood, acrylic, glass, print
The true side of truth (Based on transparence), 2017, detail
DE
In einer ersten Anordnung wurden verschiedene Objekte und Videos einander gegenüber gestellt: Ein tonloses Zweikanal-Video zeigt kurze Sequenzen von Tutorials zur digitalen Darstellung eines Verkehrshütchens in Computerprogrammen, von 3D-Druckern beim Printen kleiner Pylone, etc. Dazwischen die Präsentation echter Edelsteine seltsamster Formen, die alles andere als echt wirken.
Drei kleine Skulpturen in Form verschiedener Verkehrshütchen, deren Materialist auf Keramik oder Gips schließen lässt, stehen im Raum verteilt. Dass es sich hierbei nicht um Nachahmungen sondern um echte „Traffic cones“ aus New York, handelt, die nach langer Bearbeitung und unter vielen Schichten Farbe, nur wie Kopien, Artefakte, wirken, ist rein visuell nicht feststellbar.
Wie wichtig sind diese Informationen für das Kunstwerk? Und: Ist ein Gegenstand, der nur vorgibt ein Fake zu sein, nicht die viel niederträchtigere Fälschung?
EN
In a first arrangement, different objects and videos were juxtaposed: A soundless two-channel video shows short sequences of tutorials on the digital representation of a traffic cone in computer programs, of 3D printers printing small pylons, etc. In between, the presentation of real gems of the strangest shapes that seem anything but real. Three small sculptures in the form of various traffic cones, whose materialism suggests ceramics or plaster, are placed around the room. The fact that these are not imitations but real "traffic cones" from New York, which after long processing and under many layers of paint, only seem like copies, artefacts, is purely visually undetectable. How important is this information for the work of art? And Is an object that only pretends to be a fake not the much baser fake?The starting point for the work, which began in New York in 2017, was the increasing success of right-wing populist politics, and not only in America, and the widespread strategy here of dismissing news as fake news if it does not correspond to one's own worldview. When viewing the work, however, this need not be recognized any more than the object hidden inside.