Configurations- Les Amours Imaginaires, 2016. Photo Series

Photo series (10 x) 29,7 cm x 42 cm Pigment print on Hahnemuehle Photo Rag Baryta

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Configurations- Les Amours Imaginaires, 2016. Photo Series

Configurations- Les Amours Imaginaires, 2016. Photo Series, Installation

Exhibition view, Neue Galerie Graz Photo series (10 x) 29,7 cm x 42 cm Pigment print on Hahnemuehle Photo Rag Baryta Installation:10 Boxes, MDF board grey (60x37x8cm), acrylic glass

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Configurations- Les Amours Imaginaires, 2016. Photo Series, Installation

Configurations- Les Amours Imaginaires

In his work De L’Amour (1822), a philosophical essay on love, the French writer Marie-Henry Beyle alias Stendhal describes the concept of ‘crystallisation’ as a process of mental metamorphosis: ‘the operation of the mind that draws from all that presents itself the discovery that the loved object has some new perfections’. Stendhal goes on to compare crystallization with the reception of art. Unlike the theories of imagination found in Romanticism, which elevate the imagination to a recognitive capacity, Stendhal sees the artwork or the literary text as the product of an individually limited, affective imagination that lacks epistemological status. A lover or a recipient of art therefore creates beauty in a process of reception in the manner of a crystallization.

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Configurations- Les Amours Imaginaires

Configurations- Les Amours Imaginaires (#7)

In the protein crystallography developed by British biochemist Dorothy Hodgkin (1910–1994), for which she won the Nobel Prize in 1964, moving bodies are crystallized or solidified, in order to record their two-dimensional ‘diffraction pattern’ using X-rays. The crystal structure and thus the molecular structure can be deduced and so, using transformation and translation processes, these otherwise imper- ceptible bodies can be identified and understood.

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Configurations- Les Amours Imaginaires (#7)

Configurations – Les Amours Imaginaires takes as its starting-point the question of how one could visualise imagined romantic relationships and also negotiates the mechanisms of Internet dating apps and intuitive devices/ robots, which due to the lack of a ‘real’ counterpart ultimately remain a projection surface for narcissistic self-adulation. Here the imitations of the ‘crystallized’ people in an anthropometric setting represent the moving bodies that are ‘frozen’ (crystallized) by means of photography. The title refers to VALIE EXPORT’s “Body Configurations” (1972–1976), in which she presents ‘visi- ble externalizations of internal states within the context of architecture. Here, using an image-process- ing programme that follows the concept of protein crystallography, the body is recalculated into a geometric form. The choice of the medium of photography is not least also designed to ‘create memory’, and at the same time the documentation of a (purely) theoretical process.

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Configurations- Les Amours Imaginaires

Exhibition view Library of the Academy of Fine Arts, Vienna

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Configurations- Les Amours Imaginaires

Exhibition view Library of the Academy of Fine Arts, Vienna

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Configurations- Les Amours Imaginaires

Configurations- Les Amours Imaginaires

Exhibition view Library of the Academy of Fine Arts, Vienna

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Configurations- Les Amours Imaginaires