screens, cold, 2000 portfolio with 3 iris giclée ink-jet prints on aquarelle arches 356 g, #8: 44 x 57 cm, #2: 44 x 65 cm, #10: 44 x 97 cm, with a text by urs stahel, edition: 11 + III. (salzburg: edition galerie fotohof, 2000).
collection artothek/belvedere, vienna; österreichische fotogalerie at the museum der moderne, salzburg; private collection vienna, zurich, new york; i.a. exhibition: oberbank collection, linz.
screens, cold, 2000 portfolio with 3 iris giclée ink-jet prints on aquarelle arches 356 g, #8: 44 x 57 cm, #2: 44 x 65 cm, #10: 44 x 97 cm, with a text by urs stahel, edition: 11 + III. (salzburg: edition galerie fotohof, 2000). collection artothek/belvedere, vienna; österreichische fotogalerie at the museum der moderne, salzburg; private collection vienna, zurich, new york; i.a. exhibition: drei künstler aus österreich: anne schneider — günther selichar — octavian trauttmannsdorff, galerie fotohof, salzburg 2000.
hotel nikko, paris, 1996 iris ink-jet print on vélin cuve bfk rives 250 g, 27 x 70.5 cm (image format), edition: 25 + III, with a text by peter zawrel, edition eikon, vienna. private collections, new york, zurich, munich, salzburg, i.a.
we carry it in our pockets, as calculator, as palm computer, as cell phone; we use it to buy tickets, move the car, deactivate the alarm system, collect money; we write texts with it, create graphics; it ”calls” us? ”number 512, please”? it announces, promises, calculates; then at home again, we use it for cooking, baking, finally laying our heads down before it: the screen, the display, the monitor. this is the window, the sign, the signpost, and the plaque of the 21st century, informer and comforter all in one, the first omnipresent, multifunctional and even portable image instrument. a globally operating insurance group no longer decorates the bedrooms of their new training center with graphic works by hundertwasser or miró, but only with a flat screen displaying the menu, the program for the day, stock market information and feature films, singly or in parallel. … the so-called ”window” is a self-illuminating screen that blocks original, direct, sensory perception, a view of the world, a glimpse into nature, touching, smelling and tasting substances. it dramatically changes the distance to what was once an object of observation, although it does so almost noiselessly and with technological coolness. it stirs up our sense of space and sense of order and presses it flat against a screen. surface sport. galileo rewind: ”the [new electronic] world is a flat disk.” (vitus h. weh) the screen is today‘s blind alley, not opaque, not made of bricks, but rather of translucent frosted glass, flat, but creating an illusion of depth. … selichar‘s photographs of electronic screens have the effect of the calm before or after a storm, a smooth, geometrically planned reservoir in rough mountain terrain. we are mirrored in it, modern souls cast themselves down on its mirror-smooth surface (when it is smooth, switched off, the screen suggests a plethora of hidden things, is a hermetic projection surface), and in the end, they probably conceal a quiet yearning inside: a yearning for a new wholeness, for a new compilation of the heterogeneous parts, for the ability to merge the fragmented, hybrid worlds into a new, bearable ground. …
from: urs stahel: screens, cold, in: hubertus von amelunxen, robert c. morgan, urs stahel: günther selichar. screens, cold. (vienna: triton, 2001).
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