Fayçal Baghriche | John Baldessari | Claudia Comte | Noa Gur | Jenny Holzer ARS MULTIPLICATA 14
Donald Judd | Sol LeWitt | Brice Marden | Nam June Paik | Sigmar Polke
Tobias Rehberger | Santiago Sierra | Simon Starling | Annelies Štrba

Curated by Nina Koidl

Extended until 24.1.2015
open by appointment

From the 10th of October, collector Roman Maria Koidl’s private exhibition hall will present a homage to the most democratic of all art forms: the “multiple.”

The exhibition Ars Multiplicata 14 refers to the 1968 exhibition of the same name, Ars Multiplicata – Multiple Art since 1945 (Wallraf-Richartz-Museum, Cologne), which presented an overview of what was still a very young medium at the time – the serially produced artwork. The 1968 exhibition covered a spectrum ranging from traditional printing techniques all the way to serially produced objects appearing as an edition (multiples).

Almost 50 years later, in our full-fledged age of mechanical reproduction, the boundaries have become blurred between the object that is produced in an edition – which legendary multiples publisher René Block calls the “multiple original” – and the reproduction of originals. The current Ars Multiplicata exhibition, with its diverse techniques of reproduction, delves into this quandary.

The exhibited works have been selected from the collections of Jörg Schellmann, Munich and Roman Maria Koidl, Zurich and have all been produced in the second half of the 20th century. Aside from media in which duplication is inherent, such as print (Brice Marden) and photographical work (Annelies Štrba) the exhibition also brings together a wide range of multiples as objects (Fayçal Baghriche). The exhibition presents functional works (Simon Starling, Tobias Rehberger), video art (Noa Gur), installation (Nam June Paik) as well as a piece that is, despite being an edition, also site-specific (Donald Judd). The latter is fully integrated into the building’s industrial architecture.

Technological innovation frequently goes hand-in-hand with an ideological agenda. Three offset-prints by Sigmar Polke – based on photos that the artist also printed himself – are amongst the oldest works on display („Weekend I, II, III“, 1971/72). Polke’s decision to produce the edition through offset-printing was highly unusual at a time when this was not recognised as an appropriate technique for the production of art. To achieve the widest possible circulation of his editions was an ambition he shared with Sol LeWitt, of whom there are two so-called “Paperfolds” included in the exhibition. The process of multiplication brought them closer to their aim of democratising and opening up the art market. From the 1960s onwards, objects produced as editions created “the opportunity to stimulate debate on the problem of the ‘original’, the public reception of art or the relationship between art and trade” (Barbara Heinrich).

The youngest artist in the show, Claudia Comte, is a sculptor but also works with various printing techniques on paper. Comte’s work is also related to 1960s methods of artistic production, which dealt with the idea of the autonomous object as well as with form disconnected from representation. Born into the so-called “digital natives” generation, for Claudia Comte, the concept of autonomy increasingly leads to an artistic practice that detaches itself from the human world.

Ars Multiplicata 14 presents the abundance of forms of expression that can be found in multiples and editions. The works in this exhibition revolve around the status of the artwork as an original and question it. All works in the exhibition directly refer to this issue. In some cases, their standing as an original work that is attributable to an artist, is only attested by a certificate.


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