A project by Viktor Lundgaard.
With contributions by
Walter Derungs, Gregor Graf, Elisabeth Greinecker, Clare Kenny, Max Leiß, Ulrich Nausner, Matt Taber, Thomas Tudoux
April 28, 2016 – November 2016
For the tenth issue all-over invited Viktor Lundgaard to elaborate a concept he had developed in 2014: the exhibition space as virtual environment. A 3D-model of the main room of the Vienna Secession that had served as an experimental set-up before is now becoming the site of the all-over anniversary exhibition.
Known for its rectangular symmetry with the grid-like ceiling, the Secession building was established as one of the very first all-white exhibition spaces in 1898. The minimalist interior stands in stark contrast to the ornate exterior with the iconic golden sphere crowning the roof. For our anniversary exhibition the virtual exhibition space will be embedded into the all-over website, opening with the release of issue #10.
The participating artists have each developed one of the magazine’s “picture spreads” throughout the past 5 years in diverse forms: Walter Derungs, Gregor Graf, Elisabeth Greinecker, Clare Kenny, Max Leiß, Ulrich Nausner, Matt Taber, Thomas Tudoux. Lundgaard fitted 3D-models of their contributions into the exhibition and also included one of his own works.
For our second issue Gregor Graf had transformed photography – ranging from aerial shots to reproductions of prints – into an Atlas-like collection of forms. For our exhibition he submitted his work in a very different format: Mountain (2013) is a 4 m tall print that highlights its materiality by leaning, rather than hanging, on a wall. The piece of Walter Derungs may seem familiar: The photograph is part of a series titled Daluan (2010) published in issue #3 and chosen as cover image. Thomas Tudoux filled the inconspicuous white margins of the pdf-version of issue #4. His installation Speranza (2009), designed for the marginal spaces in galleries and museums that allow one to sit down and relax, now settles in a virtual corner of the Secession. Having contributed an extract from his personal publishing to issue #5, Max Leiß also passes over into three dimensions, showing his sculpture Waitress (2014). For issue #6 Elisabeth Greinecker had translated her sculptural practice into flat images. Her recent work Rohr (7) from 2016 transforms aluminum sheets and flat layers of colored epoxy resin up into a standing tube. Most of Clare Kenny’s sculptures derive from photographed surfaces – as did her picture spreads for our seventh issue, and her piece Swingers (2015). Ulrich Nausner conceptually altered the format of issue #8 for his contribution. In line with this approach he now intervenes in the virtual space of the Secession by coating the four rectangular columns of the main space with the four colors of the CMYK color model used in printing. The virtual installation Untitled (imprint) is specifically designed for our online exhibition. Matt Taber takes up the subject of the intervention he has done on our website for issue #9: Desire as a force that places objects and persons into peculiar constellations still preoccupies the 3D-modelled skunk Pepe Le Pew in I want you to want me (Pepe). Finally, Viktor Lundgaard’s work supreme mind (detail) (2016) takes up his ongoing engagement with fanboy-culture in reiterating the theme of race driving, fast cars and video games.
The arrangement of the show uses the advantages of virtual space. Objects can be easily placed and adjusted in size without having to conform to the laws of physics and statics. The viewer experiences the exhibition through first-person perspective.
Move: directional buttons or WASD
Camera: mouse
Cough: C
Map: M
Jump: Space
Exit: Cmd+Q (Mac), Alt+F4 (Windows)
