Christoph Blase


1996 was not a year for significant shows, but rather a time of searching and hoping. Two shows offering promise for the future stood out: JASON RHOADES at the Basel Kunsthalle and JÖRG SASSE at the Cologne Kunstverein. Both evidenced—in exemplary fashion—the emerging effect of new technologies on contemporary art. Rhoades’ work is a system of associations (here he drew on references from Car Wash to male genitalia) that are apt, genuine, and relevant, neither forced nor affected—and it’s the system that made for the show’s quality. The viewer entered into precisely that reality that occurs between mass media and everyday life. The eye clicks over a network of objects, and each click yields a mental image that links up with the next. The power of Sasse’s work, on the other hand, lies entirely in the single image. His digital productions meet photography’s verisimilar

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