Franz Ehmann’s,*1963, lives in Brisbane, Australia
http://www.soapboxgallery.com.au
Franz Ehmann’s (*1963, lives in Brisbane, Australia) images and installations unnerve with ostensibly binding theories, questions and possible answers. The view turns towards media-filtered prophesies and promises behind which existential conditions are cruelly exposed. In the exhibition, Ehmann presents two groups of works: ‘Wordsplinters’ and ‘POEM-BOWN HEADLINE’. The latter is a three-dimensional poem, composed of fourteen parts – fragments of words cut out from newspapers and hanging in different formations from the ceiling so that their meaning and readability always stay ambiguous.
Franz Ehmanns (*1963, lebt in Brisbane, Australien) Bilder und Installationen verunsichern mit scheinbar verbindlichen Theorien, Fragen und möglichen Antworten. Der Blick wendet sich auf medial gefilterte Prophezeiungen und Versprechungen, hinter denen sich existentielle Gegebenheiten bitter entblößen. Er zeigt in der Ausstellung zwei Werkgruppen: Wordsplinters und Poem - Blown Headline. Die zweitgenannte Werkgruppe ist ein dreidimensionales Gedicht, das aus 15 Teilen besteht – aus Zeitung ausgeschnittene Wörter, die so wie sie präsentiert werden (aufgehängt) nicht eindeutig lesbar sind.
Franz Ehmann’s images and installations unnerve with ostensible committed theories, questions and possible answers. The view turns towards media filtered prophesies and promises, bitterly exposing behind it all existential conditions.
How much would it take to bring on a so-called “turn around”? And, wouldn’t it be much easier to challenge the question: Are we staying the course? What could be considered for change? Would these considerations altogether become superfluous through ongoing events?
In another question: Could everything change by not changing? Could everything change through hyper-passivity? How much engagement is necessary when too much engagement is perceived as fundamentalist? How many newspapers do you need to read to understand what the news is?
Are newspapers nothing more than someone’s opinion that gets paid for by large and small business advertising? What is the value of words?
How can these articles attract so many readers? Is the value really only in the cult of the certain individuals or in the salacious headlines? Why is the public interest defence of the newspapers so powerful? Where are the facts?
Ask no questions. For I have sought, not truth, but meaning.
Through Wittgenstein another route is shown to be very effective and affirms an affinity with presenting artworks; “What we cannot directly talk about can be shown by the form of our activities.”
Franz Ehmann, 22. September 2011
http://www.soapboxgallery.com.au
http://www.soapboxgallery.com.au
Franz Ehmann’s (*1963, lives in Brisbane, Australia) images and installations unnerve with ostensibly binding theories, questions and possible answers. The view turns towards media-filtered prophesies and promises behind which existential conditions are cruelly exposed. In the exhibition, Ehmann presents two groups of works: ‘Wordsplinters’ and ‘POEM-BOWN HEADLINE’. The latter is a three-dimensional poem, composed of fourteen parts – fragments of words cut out from newspapers and hanging in different formations from the ceiling so that their meaning and readability always stay ambiguous.
Franz Ehmann, Wordsplinters / Wortspitter, 2011
Posca Pen on newsprint - 8 pages / Bosca Pen auf Zeitungspapier - 8 Blätter
Höhe 166 cm x Breite 116 cm
Franz Ehmanns (*1963, lebt in Brisbane, Australien) Bilder und Installationen verunsichern mit scheinbar verbindlichen Theorien, Fragen und möglichen Antworten. Der Blick wendet sich auf medial gefilterte Prophezeiungen und Versprechungen, hinter denen sich existentielle Gegebenheiten bitter entblößen. Er zeigt in der Ausstellung zwei Werkgruppen: Wordsplinters und Poem - Blown Headline. Die zweitgenannte Werkgruppe ist ein dreidimensionales Gedicht, das aus 15 Teilen besteht – aus Zeitung ausgeschnittene Wörter, die so wie sie präsentiert werden (aufgehängt) nicht eindeutig lesbar sind.
Franz Ehmann’s images and installations unnerve with ostensible committed theories, questions and possible answers. The view turns towards media filtered prophesies and promises, bitterly exposing behind it all existential conditions.
How much would it take to bring on a so-called “turn around”? And, wouldn’t it be much easier to challenge the question: Are we staying the course? What could be considered for change? Would these considerations altogether become superfluous through ongoing events?
In another question: Could everything change by not changing? Could everything change through hyper-passivity? How much engagement is necessary when too much engagement is perceived as fundamentalist? How many newspapers do you need to read to understand what the news is?
Are newspapers nothing more than someone’s opinion that gets paid for by large and small business advertising? What is the value of words?
How can these articles attract so many readers? Is the value really only in the cult of the certain individuals or in the salacious headlines? Why is the public interest defence of the newspapers so powerful? Where are the facts?
Ask no questions. For I have sought, not truth, but meaning.
Through Wittgenstein another route is shown to be very effective and affirms an affinity with presenting artworks; “What we cannot directly talk about can be shown by the form of our activities.”
Franz Ehmann, 22. September 2011
http://www.soapboxgallery.com.au
