from the series: no media beyond this point, 2019 – 2020
each inkjet direct print/acrylic glass.
exhibition: werkschau XXV — günther selichar — no media beyond this point, fotogalerie wien, vienna 2020.

© photos (from top to bottom): michael michlmayr; michael michlmayr; michael michlmayr; günther selichar.



from the series: no media beyond this point, 2019 – 2020
inkjet direct print/bilderdruck matt, 135 g, 30.5 x 210 cm, edition: 50 + V, photoedition 19 – fotogalerie wien, vienna 2020.
private collection vienna, munich, i.a.

© photo: michael michlmayr

ruth horak: günther selichar, no media beyond this point, fotobuch 62. (vienna: fotogalerie wien, 2020).

ruth horak: werkschau xxv – günther selichar, bilder 320. (vienna: fotogalerie wien, 2020).

ruth horak, interview with günther selichar in his exhibition “werkschau XXV – no media beyond this point” at the fotogalerie wien, vienna 2020.

© videos, photo: patrick winkler; andreas müller.

ruth horak

… thus the term WERKSCHAU is correspondingly materialised as a macro photo, as an rgb mask, as photography, as typography, as op art, as a digital print on acrylic glass. every change in the viewing distance has another of the above-mentioned visual layers respectively move one level forward. with increasing closeness the term disappears behind the building blocks of the monitor, the red, blue and green pixels which display the climax of their colour intensity at around a magnification of about 50x while on the monitor on which they were reproduced they form a tiny, almost indecipherable white word on a grey background: WERKSCHAU. in selichar’s interpretation it becomes a series of nine oversized letters. their white (light) raiment has decomposed into its additive base colours, r, g and b. the difference between what we see on the monitor and what the apparatus saw during the 120 images in focal length steps of 0,01 mm could hardly be greater.
WERKSCHAU is part of the series NO MEDIA BEYOND THIS POINT, in which günther selichar constructs a referential chain of various termini such as DIFFÉRANCE, OBSERVING SYSTEMS, NOT HERE – THERE with which he can delineate the philosophical and theoretical framework of his intensive involvement with the phenomena related to the mass media which has been continuous since the 1980s. other termini of this series are spontaneous and lighter – APPEAL and LIQUID – and allude to the attraction that media exert on their users. what they have in common is their relationship to perception via monitor and the uneasiness which arises in the face of systematic surveillance, the resistance that we feel each time when, with eyes glued to the screen, we agree to cookies fully aware that we have just delivered yet another building block towards the completion of the puzzle that is our detailed personal profile in the web. in his writings heinz von foerster (1911–2002) had already taken up the problem of observation: “what we need now is the description of the‚ ‘describer’ or, in other words, we need a theory of the observer.”3

3 heinz von foerster, notes on an epistemology for living things, 1981, p. 258 [].

from: ruth horak: günther selichar, NO MEDIA BEYOND THIS POINT, fotobuch 62. (vienna: fotogalerie wien, 2020).