Hofstätter Projekte is pleased to present new works by Austrian artist Constantin Luser. In addition to a selection of works on paper and aluminium, there will be sculptures on display, which have been conceived for this exhibition. Like the previous aritsts before him, Luser has also received Carte Blanche for his interpretation of Hofstätter Projekte’s extensive theme ALL ART HAS BEEN CONTEMPORARY (Maurizio Nannucci).
Luser’s brass wire sculptures can be seen as spatial translation of his work. They were originally continuations of his two-dimensional graphic works and have evolved into independent “spatial drawings” (“Raumzeichnungen) over time. In an unprecedented approach, the artist adds another layer to his sculptures by integrating objects from the Hofstätter Collection, such as fragments of a baroque sculpture or a clarinet, thus connecting the Old and the New.
Three small glass cubes are connected through a simple, geometric brass construction. The two glass boxes at the base of the sculpture contain a pair of hands – fragments of a baroque sculpture. The third cube, which rises centrally above the other two presents the little finger of the left hand, carefully arranged on a white handkerchief.
The hands seem to reach out for something, they seem to try and get hold of something that is beyond their reach, beyond their world. The title of the work – The Adjuration / Barokuza (Die Beschwörung / Barokuza) is a composition of the two words Baroque and Yakuza (Japanese Mafia) and evokes diverse associations, just like the sculpture itself.
"With access to his continuously growing archive of images the artist can be compared to the modern User, who navigates through the boundless universe of digital data networks, processing and re-assembling information." (Hans Peter Wipplinger)
Luser’s constantly expanding repertoire of ideas – carefully collected in his notebooks – makes up the basis of his practice. These books contain the real as well as the fantastic, motifs both from natural and artificial worlds, the written and the autobiographical. Faces, organisms, architectural or cartographic elements, bizarre machinery, symbols, scenic arrangements and thoughts are recorded precisely and in detail.
For Luser the drawing marks the starting point of his artistic career. Often working with several different colored fineliners simultaneously, he creates multilayered, intricate formations of images, where any scale is repealed. In this way he opens up “a variety of spaces of association between reality and imagination.” (Wipplinger)