Oliver Laric. Photoplastik

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik

installation view at Secession, April- June 2016

Thucydides-and-Herodotus

-http://threedscans.com/institut-fur-klassische-archaologie/thucydides-and-herodotus/

Double Herm of Thucydides and Herodotus
stereolithography, TuskXC2700T (transparent) 50 x 28,3, x 35,7 cm, aluminium base http://threedscans.com/vienna/thucydides- and-herodotus/
Courtesy: Institut für Klassische Archäologie der Universität Wien

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view at Secession, April- June 2016

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view at Secession, April- June 2016

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view at Secession, April- June 2016

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view at Secession, April- June 2016

Eisbaer-v2

OTTO JARL: Polar Bear and Seal, 1902
selective laser sintering, polyamide
46,8 x 51,9 x 34,9 cm, aluminium base
http://threedscans.com/vienna/eisbaer_und_s eehund/

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view Hermes Fastening his Sandal and Johann Christian Wilhelm Beyer: Lucius Quinctius Cincinnatus, between 1773 and 1780, Secession 2016

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view François Willème, Self Portrait, around 1860, Secession 2016

all images courtesy the artist and Secession, Vienna
photos: IRIS RANZINGER

In 1947, novelist and politician ANDRE MALRAUX put forward the concept of the ‘musée imaginaire’ (translated as the ‘museum without walls’). His idea revolved around the fact that art history had become ‘the history of that which can be photographed.(1)’ The sculptural medium was actually one of the first subject to be documented, mostly because of it’s difficulty to be transported, but also because of its staticity, which made easier the long exposure process.

Sixty years later, OLIVER LARIC’s work is intricately bound to that history of documentation and sculpture and how these medium have been implicated in the analysis and redefinition of the other.

Photoplastik, his current exhibition at Secession in Vienna, features a series of 3D printed objects which are based on scans of art pieces that LARIC found in various museums and public locations in Vienna. This exhibition is actually a continuation of a work that the Austrian artist started in 2012 with the Collection Museum and Usher Gallery in Lincoln, UK for which he built a publicly accessible 3D archive of pieces of art.

The materiality of the image, its reproducibility and paradoxically its disappearance is at the root of OLIVER LARIC‘s practice. This work not only questions the mainstream politics of representation and endless reproducibility heralded by the digital era, but explores also notion of transparency, democracy, and access that have been loosely ascribed to the newly digitized institutions.

Photoplastik by OLIVER LARIC is on view at Secession, Vienna until June 19, 2016.

1.MALRAUX, Le Musée imaginaire, ed. Gallimard, Paris, 1963, 1965, p 111.



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