Wade Guyton, IMG_1919.JPG, 2013. Favorite
IMG_1919.JPG, Guyton’s second edition for TEXTE ZUR KUNST emphasizes the role of photography – and of its equipment – in constituting the work’s central motif. Test sheets drawn from an inkjet printer lay stacked on the bright red floor of the kitchen in the artist’s studio; a camera hovers above. Standing back, Guyton documented the setup with his iPhone and then used a modified form of the production still as the cover for the catalogue that accompanied his exhibition Drawings for a Small Room at Secession in Vienna (2011). The photograph pairs the detailed visual information of various test sheets with the saturated red of the floor. With this edition, the artist has essentially encapsulated one’s view of the exhibited works, freezing a level of remove into the work that is representative of its displacement from the original in both form and time.
Medium: Digital C-Print
Size: 40 × 30 cm
Edition: 100 + 20 A. P.
Numbered and signed on the back
Price: SOLD OUT
Matias Faldbakken, Jerry Can Cut, 2013.
In order to produce the work, Faldbakken lined up a few dozen cans in a row. Then he slashed back and forth across the front of them with an angle grinder. The resulting objects¾sections of a larger whole, details of the crisscrossed drawing that he carved into their surface¾possess a direct and apparent connection to the process that marked them all. And these forms are determined by the industrial tool used in making them as well as by the basic geometry of the slices. As a result, each reflects its participation in the traffic of goods: Their incompleteness, the fact that a series of structurally dependent component parts are circulating separately, signifies the interconnected networks of their exchange.
Medium: Steel cans cut with angle grinder
Each can: 47 × 34 × 17 cm
Edition: 75 + 20 A.P.
Numbered and signed
Price: SOLD OUT
The Guyton and Faldbakken editions will be available today at Texte zur Kunst here