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Naked Eye, 2010

video-documentation 3:02

 

In her solo show Naked Eye at the Kunstraum Bernsteiner, Sylvia Eckermann applies the artistic media of (moving) image, colour, installation, and text as a means to resolve the all too familiar categories of the narrative of the exhibition. The White Cube of the Viennese exhibition space is transformed into the setting of a reflection in the double meaning of the word: Reflecting materials charged with artistic purport become the agents of an investigation into the subtle relations between the codes of artistic expression. In its material and immaterial presence, her work critically addresses both the ideas of the autonomy and the elusiveness of the artwork. Deliberately moving between the layers of her material, linguistic, visual and tonal objects and their installation, Eckermann consequently refuses to pre-define a conceptual interpretation of her work. Thus, Naked Eye can be seen as an artistic method of interrogation, which appropriates or rather fuses objects and light into multifarious but yet subjective strata of visibility. The narrative of the exhibition as the traditional textual ambience of art is thereby split into fluid and fleeting perceptions that nonetheless manifest the arts’ inherent potential to inspire the individual viewer. The “speech” in Alfred Adler’s quote that forms the textual element in Eckermann’s show could be reinterpreted in terms of art: “If what the patient says seems ambiguous and confusing, close your ears and open your eyes wide. Watch him closely when he talks and you will understand exactly what he does not tell you.”

Brigitte Felderer, in: Sylvia Eckermann, Algorithmisiert, Czernin Verlag 2014, Wien