who’s afraid of blue, red and green?, 2002 – 2003
series of 3, each c-print on alucobond, 125 x 200 cm. edition: 3.
collection belvedere, vienna (donation from private collection); oberbank collection, linz.
exhibition: günther selichar — no media beyond this point, fotogalerie wien, vienna 2020.
© photos (from top to bottom): erhard suess; david williams; michael michlmayr.
who’s afraid of blue, red and green?, 2002 – 2003 (2017)
series of 3, each ink-jet print on tecco baryt glossy 300 g, 42.7 x 68.3 cm (image format), edition: 10 + II.
collection landesgalerie, linz; private collection, linz, vienna, berlin, i.a.
exhibition: günther selichar — observing systems, artmark galerie, vienna 2019.
© photo: günther selichar.
in front of a photograph, what you see is the representation of a monitor to which something strange has happened. the screen displays exclusively one of the three basic colors of the electronic image: red, green or blue. you stare at the large color picture, which seems to maintain the proportions of the monitor. you see the fine grid and are uncertain as to where the color is coming from. one cannot really believe that something like a red object was captured in a close-up. it seems more obvious that something has had a deep impact on the apparatus and the logic and mechanism of the image structure in relation to the coloring are subject to manipulation. it is perhaps known that the three basic colors, in an additive color mixture, are able to simulate all possible color tones. now however, only one color “works” in highlighting the electronic appearance, which additionally shows nothing other than this very color. you become a witness to a sort of “autointoxication” of the screen with each one of the three colors, i.e. each time only the red, green or blue pixels light up or are active. …
the ecstasy that is made possible by the electronic monochromes created by günther selichar through the programmed “contamination” of the image gestalt affecting perception as well, is committed to the idea of contradicting that form of the image regime whose instrumental reason promises us a perfect analogy of image and reality: life in bright worlds. now we stare at a monochrome image with a reduced dramatization, which was extracted from an electronic field through massive interventions, whose way of existence was not envisaged in such a way as it now nonetheless is. the title of the work who’s afraid of blue, red and green? can also be understood to mean that the radical intervention in the normative fabric of electronic images makes something imaginable that is actually capable of unsettling us. the old connection and commitment between the reference and the formal and technical structure of the post-pictorial electronic image streams is frustrated in favor of a resistant aesthetic. a hegemonic construction paradigm should be displayed — the thing itself, not what can be depicted thanks to it. the fact that the construction materializes with the help of an infected electronics (a software which normally serves to discover so-called “dead pixels”) strengthens the epistemic unease. in addition, we see the photograph of a monitor image, but not the image itself. and the photograph is noticeably quiet while the monitor is vital. the photograph enables one to make a sublime record of a moment in color, in this case of a counterfactual image vibrating under major tension and processes. …
from: marc ries: autointoxications. who’s afraid of blue, red and green? 3 parts, each c-print/alucobond, 125 x 200 cm, 2002 – 03, 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).