standby
, 2003 – 2004

#8a, large version, thermographic image, ink-jet print on photo fiba print 285 g, 87.1 x 92.7 cm (image format).
#1 –  #8, small version, each thermographic image, ink-jet print on permajet matt plus 245 g, 30.6 x 32.5 cm (image format).

exhibition: günther selichar — standby, kunstverein medienturm, graz 2006.


standby
, 2003 – 2004

#7, #8a, #4, large version, thermographic image, ink-jet print on photo fiba print 285 g, 87.1 x 92.7 cm (image format).
 exhibition: günther selichar – media machines, tufts university art gallery/aidekman arts center, medford/boston 2006.


standby
, 2003 – 2004

#7, #8a, #4, #1, large version, thermographic image, ink-jet print on photo fiba print 285 g, 87.1 x 92.7 cm (image format),
matted and framed (107 x 111.5 cm). edition: 2.
#1 collection landesgalerie, linz;  #4, #7, #8a collection nö. landessammlungen, st. pölten; #7 private collection, vienna;.

 


standby
, 2003 – 2004

small version, series of 8, each thermographic image, ink-jet print on permajet matt plus 245 g, 30.6 x 32.5 cm (image format).
exhibition: oberbank collection, linz.


standby
, 2003 – 2004
small version, series of 8, each thermographic image, ink-jet print on permajet matt plus 245 g, 30.6 x 32.5 cm (image format), edition: 5 + II.
daimler art collection, stuttgart/berlin; oberbank collection, linz; private collection, vienna; i.a.
exhibition: günther selichar — fotografische arbeiten, kammerhofgalerie, gmunden, 2005.

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



amy i. schlegel

selichar used an infrared thermographic video camera (typically used by the surveillance industry, energy engineers, and fire departments) to repeatedly photograph a single television screen set on stand-by mode.  this in-between position of tension—neither on nor off—is not visible to the human eye, nor is the heat emitted from the television monitor’s cathode ray measured by the infrared camera.  the camera itself determines the range of aesthetic options available.
it can be programmed to detect a certain heat range, which effects the color range when printed.  selichar determined the temperature range he wanted to photograph thermographically and then decided to print images in the series at the camera’s two settings:  low- and high- resolution, both of which yield comparatively poor quality still images but beautiful color juxtapositions reminiscent of abstract expressionist mark rothko’s compositions, a fortuitous (but not deliberate) conceptual reference.

from: amy i. schlegel, günther selichar – media machines, tufts university art gallery/aidekman arts center, medford/boston 2006