Munich

Björn Dahlem, Sonnen (Suns), 2011, glass, wood, Styrofoam, steel, lemon, velvet ball, lacquer, shellac, 27 1/2 x 59 x 19 5/8".

Björn Dahlem, Sonnen (Suns), 2011, glass, wood, Styrofoam, steel, lemon, velvet ball, lacquer, shellac, 27 1/2 x 59 x 19 5/8".

Björn Dahlem

Galerie Rüdiger Schöttle

Björn Dahlem, Sonnen (Suns), 2011, glass, wood, Styrofoam, steel, lemon, velvet ball, lacquer, shellac, 27 1/2 x 59 x 19 5/8".

“Artistic research” has become a buzzword—as if art could imitate or incorporate methods of the natural and social sciences and the humanities. The scholarly, intellectually conscientious artist seems to be the new ideal, not least because it is easier to gain support for training and resources from academic establishments when artistic production is couched in terms of research. Yet many artists resist such labels and interpretations of their work. Björn Dahlem’s works, for instance, are undeniably involved with physics, astronomy, and philosophy, yet he nonetheless shuns the overly positivistic paradigm of the researching artist—without, however, falling into long-outdated stereotypes or backward ideologies.

Dahlem’s recent exhibition “Voyager” was something of a follow-up to his 2010 show “Die Theorie des Himmels I—Die Milchstraße” (Celestial Theory I —The

Sign-in to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the May 2012 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.