reviews

Oliver Laric, Hundemensch, 2018, polyurethane, pigment, 20 7/8 x 20 1/2 × 22 3/4".

Oliver Laric

Metro Pictures

Oliver Laric, Hundemensch, 2018, polyurethane, pigment, 20 7/8 x 20 1/2 × 22 3/4".

Oliver Laric’s iterative video treatise “Versions,” 2009–12, defined a certain moment of “post-internet” discourse during which the status of the image seemed bleak. It was as though the digital world and its posse of copies, avatars, and remixes were hunting down the conventions of originals and authors. Sutured together from uncredited fragments of texts by Gilles Deleuze, Heraclitus, and RZA—and read by an actress who seems to be imitating Siri—the voice-over narration for 2010’s Versions begins: “Degradation followed display; reified and emptied, the image was treated like the lowliest of things. Images were broken, burned, toppled, beheaded, and hanged.” Laric’s project was an ode to iconoclasm, and the video countered alarmist cultural theories with evidence of the ways in which processes of mutation and versioning have always been an aspect of visual culture,

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