The canvas, the Reproduction
CR 610. Year 1971
Gerz is trying to work against the myth of the artist. Unreflective acceptance and mechanical, linear use of language and images result in their destruction as a form of communication, similar to what Vilém Flusser analysed and described as the fate of technical pictures. Here, two positions meet that are trying to reach related, perhaps even analogous goals. Their common ground is doubt and scepticism about thing, things that are and yet are not, and the way things purport to be.
Andreas Vowinkel 1992
Gegenwart im Werk bedeutet Jochen Gerz: Abwesenheit im Leben
Angelika Stepken 2006
Categories
Keywords
Single work
b/w-photograph of an empty canvas on stretcher, mounted on the same canvas, 100 x 100 cm, signed and dated: Jochen Gerz 1971
Exhibitions
Milano 1971. Milano 1972. Amsterdam 1973