TITLE_NAME :
Herbert Brandl | Music for trees and mountains
15/04/2023 - 26/05/2023
FILOMENA SOARES
Rua da Manutenção nº 80 (Xabregas)
1900-321 Lisboa
www.gfilomenasoares.com
It is a feature of the present day that no act of painting is fully in keeping with the times if it does not offer an answer to questions concerning the ambition, justification and meaning of painting. In a subtle and not immediately apparent way, Herbert Brandl poses such questions in his 2021 publication ÜBERMORGEN [THE DAY AFTER TOMORROW] – a photo album that presents itself as if it were the translation of his personal Instagram account into the analogue medium of the book. Jumbled together without any recognizable logic, there are colour photographs from Brandl’s garden, his apartment, and his artist’s studio, but also photographs of a dramatic skyscape, sometimes taken through a car-window, and a variety of images from the internet – pictures of flowers, of his cat, of carpets or of arrangements of everyday objects and so on. In the process – as incidentally as intentionally – his own paintings and sculptures come into play. Mobilized by the medium of photography and a special algorithm, the works of art enter into an infinitely differentiated and yet uniform context of digital snapshots, such as dominate communication in the social media. The question then arises: what sense does it make to add a few further – personally painted – pictures to the boundless myriads of images that have already been produced and consumed?
15/04/2023 - 26/05/2023
FILOMENA SOARES
Rua da Manutenção nº 80 (Xabregas)
1900-321 Lisboa
www.gfilomenasoares.com
It is a feature of the present day that no act of painting is fully in keeping with the times if it does not offer an answer to questions concerning the ambition, justification and meaning of painting. In a subtle and not immediately apparent way, Herbert Brandl poses such questions in his 2021 publication ÜBERMORGEN [THE DAY AFTER TOMORROW] – a photo album that presents itself as if it were the translation of his personal Instagram account into the analogue medium of the book. Jumbled together without any recognizable logic, there are colour photographs from Brandl’s garden, his apartment, and his artist’s studio, but also photographs of a dramatic skyscape, sometimes taken through a car-window, and a variety of images from the internet – pictures of flowers, of his cat, of carpets or of arrangements of everyday objects and so on. In the process – as incidentally as intentionally – his own paintings and sculptures come into play. Mobilized by the medium of photography and a special algorithm, the works of art enter into an infinitely differentiated and yet uniform context of digital snapshots, such as dominate communication in the social media. The question then arises: what sense does it make to add a few further – personally painted – pictures to the boundless myriads of images that have already been produced and consumed?