View of “Josef Dabernig,” 2011.

View of “Josef Dabernig,” 2011.

Josef Dabernig

Galerie Andreas Huber

View of “Josef Dabernig,” 2011.

Distributing a medium across the thousand plateaus of perception is an exercise that visual artist and filmmaker Josef Dabernig has mastered like no one else. He studied sculpture, but since then has been dissolving the concept of sculpture in the acid bath of media plurality—a plurality that this creator of conceptual cross-references identifies as “film, photo, text, object, architecture.” For his recent show “Sports Grounds and Structural Approach,” Dabernig put his eclectically expressive vocabulary at the disposal of a personal passion: soccer (previously the subject of one of his most successful short films, Wisla, 1996, which follows an imaginary match through the faces and gestures of two trainers as they watch it).

When Dabernig arrives in a foreign city—the Georgian city of Tbilisi, say, or Gyumri in Armenia, or (those seen in this show) Lviv and Truskavets in

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