ARTIST MONOGRAPHS

PUBLISHER
Kerber

BOOK FORMAT
Hardcover, 6.5 x 9.25 in. / 104 pgs / 39 color / 6 bw.

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Active

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D.A.P. Exclusive
Catalog: FALL 2011 p. 136   

PRODUCT DETAILS
ISBN 9783866784482 TRADE
List Price: $37.50 CDN $50.00

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In stock

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Simon Wachsmuth: Aporia, Europa

Edited by Beate Ermacora. Text by Walter Seitter, Daniela Hölzl.

"In <i>Fehlstellen</i> Simon Wachsmuth focuses on places in the frescoes by Piero della Francesca which have been destroyed by time and circumstances. But he does not attempt to reconstruct the blind spots in an art-historical or archeological sense, trying to make the complete image visible again if possible. He is much more interested in the impact and significance of the gaps, and the process by which the viewer completes and reconstructs them." <p>Beate Ermacora, excerpted from the foreword to <a href="9783866784482.html">Aporia/Europa</a>. Featured image, <i>O.T.//Untitled</i>, 2010 is reproduced from <a href="9783866784482.html">Aporia/Europa</a>.In his series Fehlstellen, Simon Wachsmuth (born 1964) replicates the missing and destroyed parts of Piero della Francesca's “Legend of the True Cross” fresco cycle. Using black paint, he thereby creates a fictitious cartography from these holes in visual information to which he adds current newspaper cuttings on Turkey's accession to the European Union and old photographs of Istanbul.

"In Fehlstellen Simon Wachsmuth focuses on places in the frescoes by Piero della Francesca which have been destroyed by time and circumstances. But he does not attempt to reconstruct the blind spots in an art-historical or archeological sense, trying to make the complete image visible again if possible. He is much more interested in the impact and significance of the gaps, and the process by which the viewer completes and reconstructs them."

Beate Ermacora, excerpted from the foreword to Aporia/Europa. Featured image, O.T.//Untitled, 2010 is reproduced from Aporia/Europa.

Simon Wachsmuth: Aporia, Europa

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FROM THE BOOK
"The pictorial panels of the Fehlstellen emerge as the representation of a narrative dispositive in the form of abstract painting. Paining, including abstract, designs a model; indeed, it is a model. It is true that these black forms on a while background appear formless, 'informes', but they open up space in two ways. As pure painting, they tie in with the tradition of classical modernism, but the forms are also linked associatively to cartography: that is, to an art capable of inventing space and representing interactions."

Daniela Hölzl, excerpted from A Splinter of Wood in Aporia/Europa.

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