June 2001
Doug Aitkin
François Morellet
Georg Winter
left:
Doug Aitken
USA Collision x 4, 2000
C-print laminated on lucite, 137,2 x 121,9 cm, ed. 6/6
middle and right:
Georg Winter
Mitsubishi monogatari, 2001
UCS professional film set, wood, different materials,
173 x 173 x 53,1 cmMeasure/Maßnahme (Otsu/Atsuta), 2001
wood-cut on translucent paper,
60 x 229 cmRemain composed (Otsu/Atsuta), 2001
wood-cut on translucent paper,
49,8 x 292,7 cm
background:
François Morellet
b. 1926 in Cholet, F, lives in Cholet and Paris, FRêlache compact, 1993
Acrylic and pencil on canvas, aluminium, white wire, white neon, transformer,
board: 100 x 100 cm, complete: 180 x 204 x 21 cmFrançois Morellet adopted the approach of 'programmed coincidence' in his picture systems in 1962. Abandoning traditional panel painting, he worked with neon tubes for the first time in 1963.
In the Relâche (a French term denoting the temporary closing down of (movie) theaters, etc.) series dedicated to Francis Picabia, the French artist returned to panels to disassemble them into a multitude of elements and redefine them "deconstructively".
The rigid rectangle is broken up and delimitations are eliminated in a host of directions by means of layered frame elements. A tilted square serves as both carrier and empty center. The tilt angles, positions and colors of the eight right angles are determined by random figures taken from page 313 of the Maine et Loire telephone directory. In this way, an open ensemble is created in which system and coincidence are interwoven in a playful manner.
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