when scanners meet [#1], [#2], 2008 – 2013
[#1] series of 3, [#2] series of 2, each c-print between glass, 31 x 22.7 cm.
exhibition: the supershow, halle 14/baumwollspinnerei, leipzig 2013.
when scanners meet [#1], 2008 – 2013
series of 3, each c-print between glass, 31 x 22.7 cm, edition: 3 + I.
collection österreichische fotogalerie at the museum der moderne, salzburg; private collection, vienna, leipzig.
when scanners meet [#2], 2008 – 2013
[#2] series of 2, each c-print between glass, 31 x 22.7 cm, edition: 3 + I.
collection österreichische fotogalerie at the museum der moderne, salzburg; private collections, vienna, munich.
when scanners meet [#3] – [#7], 2013 – 2016
series of 5, each ink-jet print on hahnemühle photo rag 308 g, 163 x 59 cm (sheet format).
exhibition: re-coding, curated by, galerie thoman, vienna 2016.
© photos (from top to bottom): hein-godehart petschulat; hein-godehart petschulat; günther selichar; günther selichar; günther selichar; lena kienzer.
… this is because in when scanners meet the artist allows two devices of the same type, standard flatbed or hand scanners, to interact with each other. the first scanner scans the second scanner while it is scanning the first… and so on and so forth. with the images in this series, selichar generates visual as well as conceptual infinite loops, which take themselves as their own theme, and shine through both literally and in the figurative sense. he registers the movement of pieces of equipment mutually reflecting each other; he captures the point in time at which both sources of light meet each other, he reveals the industrial casing of the device and plays with the abstraction as a means of design — including the iridescent effect. in when scanners meet it becomes obvious how selichar approaches questions intrinsic to art by initially devoting himself to the presumed sideshows of artistic production: the rainbow effect is indeed expressed on the edges of the authentic images, and ultimately however he reveals its basis in media, its primary cause. similarly, günther selichar develops his work along the edges, boundaries and peripheries of mass media activity — and is nonetheless right in the middle.
from: franz thalmair: on the edge of the action — right in the middle, in: uli bohnen, dieter buchhart, christoph doswald, ruth horak, kathy rae huffman, robert c. morgan, marc ries, dieter ronte, amy ingrid schlegel, günther selichar, franz thalmair, claudia tittel: günther selichar. who’s afraid of blue, red and green? (1990-2017). (vienna: verlag für moderne kunst, 2017).