Hybrid-Display Structures

Foregrounding the exhibition The Immense Ventriloquism Part.2, Hybrid-Display Structures considers the nature of display and how we engage with art in an exhibition environment. Hybrid-Display Structure series: 003, 004a, 004b 005, 006, 007a, 007b, 008, 012, 017. Poly-mix material, wood, aluminium, paint. Sizes: 270/120cm *007a & 007b 135/120cm & 160/120cm Hybrid-Display Structures are a series of floor to ceiling panels: digital prints on fabric, which were orientated around the gallery walls and suspended from a specially constructed framework that reached into the gallery space. They directly correspond with a curated selection of paintings and prints by guest artists, while adopting the physiognomy of exhibition display architecture - in order to examine the autonomous and authorial positions of artworks. The visual language of the hybrid panels speaks of calibration and optical registers, as well as decentred patterns and a slippage of surface. The Hybrids present a new configuration of image-space (bildraum)*, through dissolving the boundaries between artwork and display architecture, image and object, and image and image. The hybrid panels had to simultaneously embody the qualities of presence and absence within the exhibition, to structurally foreground the exhibition space while individually corresponding with the guest artworks. To reconsider the activity of curating, and create a site of critical and disruptive activity, the Hybrid Display Structures are better framed philosophically in the Curitorial**; as an interdisciplinary arena to demonstrate new insights into subject-object relations. The display of the paintings and prints by the guest artists is considered and cohesive in the exhibition space, while they simultaneously achieve a contiguous set of relations with the Hybrid Display Structures. Indeed the visual language and positional interplay of each hybrid panel directly counterpointed the attributes of a corresponding guest artwork. Hybrid-Display Structures are presented in conjunction with a selection of artworks by the artists: Clara Bausch, Matthew Burbidge, Ingo Gerken, Marie von Heyl, Michael Schultze, Raaf van der Sman and Oliver Zwink. Featured Paintings: Paravent, by Michael Schultze (2020) Wood, Tempera on Canvas, S. 180/145 Mask, by Raaf van der Sman (2020) Egg tempera on paper, S. 55/32 ‘Untitled’ (BVFS, Nr.1) & ‘Untitled’ (BVFS, Nr.7) by Oliver Zwink (2017) Acrylic, wax and coloured pencil on paper S. 110 x 155 & (2018) Acrylic on paper, S. 110 x 155 and featured Prints: Shadows, by Clara Bausch (2019) silkscreen mounted on dibond, S.68/98 An Image to Be Read, by Matthew Burbidge (2011) Print S.61/43 BIBLIOSCULPTURE 012 (GROSSES TUCH) & BIBLIOSCULPTURE 016 (BEI BUCHHOLZ) by Ingo Gerken (2012) Photographic print, S. 348/349 “Phantom Limb” by Marie von Heyl (2015) Photographic print diptych & cast metal, S. 22.8/31.3 Hybrid-Display Structures is featured in the second in a series of exhibitions entitled: The Immense Ventriloquism – Part.2, presented at nationalmuseum, Berlin. * Bildraum (Image-Space) - see Walter Benjamin essay on Surrealism (1929) ** see Jean-Paul Martinon, The Curitorial, A Philosophy of Curating (Bloomsbury Pub.)