Jette Rudolph Gallery is pleased to present an exhibition of new works by Constantin Luser (born 1976 in Graz, lives & works in Vienna) and Johannes Vogl (born 1981 in Kaufbeuren, lives & works in Berlin & Vienna). In their works -incorporating drawing, performative sculpture, collage and video- Luser and Vogl subvert the practical value of speech, image and object in terms of their common function and logical communication. Both artists develop an individual grammar of directions, transposing the usual connection between these three modes of processual plot lines into the visual world. In this way for the recipient the inherent potential of the works is projected within a mechanical, storyboarded scenario.
The artist Constantin Luser is well known for his protocolar small, large-sized as well as wall drawings made with black fineliner; more recently he has realized his drawings with coloured liners set in parallel motions on alu-dibond. His new collages of meticulous graphic quality refer to models of old scientific compendia.
Luser's drawings appear as complex conceptual frames of thoughts; circuit-like modules transform into figures and objects in order to paraphrase the drawing line in abstract models, ciphers and symbols. The complex cosmos of images in Luser's work is attended by multi-lined texts of associative content or individual creations of words filling the intervals. Due to the conjunction of the image and the word the artist's drawings suggest diagrams, technical drawings, computer graphics, data logs and precise book illustrations. Simultaneously the drawings can be considered as a medial instrument of perception and as a record of the relationship between the artist and his environment.
Johannes Vogl´s objects, installations, videos and photographs are presented to the viewer as jelled experiments in nature, science and physics. Their perception and knowledge is derived from the artist´s personal memory, the scenery of the every day and the human longing for beauty and coincidence. The everyday objects of daily life inspire the artist's machines, with their mechanics and engeneering processes as a visible part of the work. Alongside their performative strand they culminate in the visualization of an aesthetic event, e.g.: an ensemble of suspended empty beer bottles presents itself as a symmetric but explosively charged mobile ("Wolke"); a burning waste bin installed atop a flagpole on a beach, entitled „Ghostlight", serves as control point and fen fire at the same time. Vogl´s mechanical objects circulate in the "area of tension between functionality and sculpture, between actual usability and object" (Elisabeth Konrath). They allow chain reactions to appear as symbolic surrogates of reality and humorously and ambivalently hint at superficial situations at the triggering moment of cognitive perception.