Achim Wollscheid

  • Bernd Jünger

    There are two methods of introducing new technological processes into art. One approach—I would tentatively call process-oriented—sees the material as a vehicle that reveals unstable, interim results that can, in some cases, serve to document the working process. This method addresses the transitoriness of process and defines its relationship to the conditions of exhibiting as well as the concrete situation of reception. The second approach bears the traits of a calculated operation: a technological procedure is introduced into a conventional artistic technique. It serves, as in the

  • Kirsten Mosher

    Kirsten Mosher’s work revolves around context: context as a catalyst, as a material, and as a defining force in the reception of art. None of these aspects can claim priority over the others; neither the allusion to intention, nor the presentation of a three-dimensional form, nor the situation that develops for the viewer can be seen without reference to the context.

    If one can even speak of an artwork’s genesis, one could say that for Mosher it is determined by an act of choice. The arena of choice is that of everyday information and communication processes, encompassing various kinds of