Light as shades of light or perception of moment in light or in shades of light form immediate reference nodes in questions to a fulfillment of ‘carpe diem’ …
alexandra reill, photo series, 2021-2022
shades of light 01, 2021
digital at 72 dpi: 4032 x 3024 px; print at 600 dpi: 17,07 x 12,80 cm
shades of light 02, 2022
digital at 72 dpi: 1352 x 3730 px; print at 600 dpi: 05,72 x 15,79 cm
shades of light 03, 2022
digital at 72 dpi: 2780 x 4032 px; print at 600 dpi: 11,77 x 17,07 cm
shades of light 04, 2022
digital at 72 dpi: 993 x 2894 px; print at 600 dpi: 04,20 x 12,25 cm
shades of light 05 = 08, 2022
digital at 72 dpi: 1643 x 3372 px; print at 600 dpi: 06,96 x 14,27 cm
shades of light 06, 2022
digital at 72 dpi: 2650 x 4032 px; print at 600 dpi: 11,22 x 17,07 cm
shades of light 07, 2022
digital at 72 dpi: 4032 x 3042 px; print at 600 dpi: 17,07 x 12,80 cm
shades of light 08 = 05, 2022
digital at 72 dpi: 1643 x 3372 px; print at 600 dpi: 06,96 x 14,27 cm
production kanonmedia, 2021-2022
The perception of the postulates of art markets and contemporary art theory for the thematic anchoring of future-oriented, [media] art production, which were still held in 2020 and were already reduced in the following year, had changed significantly in the light of social developments by the end of 2021 at the latest [obviously not only] for the concept and video artist Alexandra Reill.
Now, at the latest, all previously common approaches in the context of contemporary art theoretical reflections presented themselves to the artist rather as art historical. Contemporary reflections on the relevance of artistic creation, especially those in the context of so-called media art, changed significantly; any adaptation to the art market and to the superficiality in thematically oriented artistic production that had been stimulated by the market for decades, and which Reill had already clearly doubted for several years, now became superfluous in the context of an overall picture of social development.
In a now, woman/ man could say, radical turning away from such [market] premises as hitherto corresponding media production, “analog” questions remained, primarily in the sense of such, which inquire life in itself. In this thematic framework, light as well as shades of light or perception of moment in light or in shades of light form immediate reference nodes in questions of a fulfillment of ‘carpe diem’, especially under social circumstances, which have a clearly aggravating effect on such perception and such fulfillment and thus on a primordial trust and a life of ‘carpe diem’; where even such circumstances can never attack the principle of ‘carpe diem’ in the end.
Hanging in analog framing
Ideally, the eight photographs form an analog image series, digitally printed on coated handmade paper and framed in approx. two cm mahogany frame polished; with passepartouring in matt coated paper, chamoix, thickness 1.4 mm.
The hanging is chronological, from left to right, following the numbering in the titles of the works. The eight images can be hung in one or two horizontal lines, the horizontal arrangement being determined by the horizontally central axis of each image; the distance between each image is seven centimeters from frame end to frame end.
In the case of horizontal two-row hanging, also at average viewing height, the distance between the two rows of pictures is also seven centimeters, starting from the middle point of the lower horizontal row and the new center of the upper row of pictures assumed from there at a height of eight centimeters. In the case of two-row arrangement, this is done from top left to bottom right in chronological order of the numbering in the titles of the works.
The minimum distance from other wall installations, both vertically and horizontally, is ideally at least 1.20 meters.
Mobile phone installation
The digital presentation takes place in a horizontal hanging row, from left to right by file name, by statically displaying a photograph on one mobile phone at a time while suspending the idle state of the screen display. Each mobile phone is hung horizontally or vertically according to the format of the photograph. The distance between the mobile phones is five centimeters each, and the minimum distance to other wall installations is ideally at least 1.20 meters, both vertically and horizontally. The devices used are iPhones with a maximum screen size of 71.5 mm wide and 146.7 mm high when viewed vertically. The minimum screen resolution is Full HD. The casing of all phones is the same color, ideally rosé, in second choice matt silver, otherwise black.
The cables are white, black for black devices. The wall holes are located in a horizontal level, 30 cm below the lowest edge of the installed mobile phone row. If necessary, the power cabling of the mobile phones per device can run vertically to the lower edge of a white wall, and there lead via a hole per cable in the wall to the backstage area, where a stable charging station is located.