Dominik Lang
27 February - 21 April 2013
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| © Dominik Lang
Expanded Anxiety, Secession 2013
Photo: Oliver Ottenschlaeger |
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DOMINIK LANG
Expanded Anxiety
27 February – 21 April 2013
For his exhibition Expanded Anxiety in the Secession’s Galerie space,
Czech artist Dominik Lang developed a series of works in which he
reinterprets elements of Cubist sculpture and architecture. For the
title installation in the back room, he reconstructs the famous statue
Ùzkost [Anxiety] (1911/12) by sculptor Otto Gutfreund in an enlarged
form specially adapted to the exhibition space, allowing visitors to
experience the sculpture in a new way and get right inside it.
In his interventions and installations, Lang explores the complex
relations between viewer and object, object and space, subjective
perception and historicization. He has repeatedly dealt with Czech
modernism and demonstrated his personal approach to (art) history. The
new vitrine architectures and sculptures on show in the first room are
typical of the kind of free, fictional dialogue that he often sets up in
his work with pieces by predecessors including Josef Gočár, Vlastislav
Hofmann, Pavel Janák. At the same time, he also uses this presentation
to create a broader context and to prepare the (historical) mood for his
installation Expanded Anxiety in the back room of the Galerie.
Expanded Anxiety is based on the statue Ùzkost ([Anxiety] 1911–12) by
Czech sculptor Otto Gutfreund (1889, Dvůr Králove–1927, Prague) from the
collection of the National Museum in Prague. Gutfreund studied in Paris
and counts as one of the first proponents of Czech cubism. Dominik
Lang: "The statue was in an expressionist-cubist style, the refracted
surfaces and sharp corners emphasise the tension in the figure and its
concentration and focus into the inside—in my opinion the sculpture
doesn’t attempt to expand into the space and display itself, but it
rather feels it wants to reduce itself into the most compressed,
squeezed form.”*
Lang has reproduced Gutfreund’s 156-cm-tall statue in an enlarged form
that fills the exhibition space, presented lying on its side. With
respect to possible perceptions of the original sculpture, the artist
creates a paradoxical situation: the monumental figure is positioned in
such a way that although viewers can literally get right inside it, the
"actual” outer form is not visible, accessible only to the imagination.
The artist Dominik Lang about his intention: "I attempt to create a
feeling of physical tension and isolation in the viewers by enclosing
them inside the sculptural shape. The aim is not to create something
monumental, occupying the whole space but rather a situation where the
scale has suddenly changed and visitors have a chance to walk into
things and objects that they usually just look at from the outside. It
is like walking into someone’s head, it is revealing the hidden centre,
showing that perhaps what is important is the void inside things. Also
the idea was partly to take the visitor back in time and look through
the interior body of the sculpture at the past, at the atmosphere around
the year 1911, in the waiting phase full of uncertainty and fear before
the First World War.” *
Lang directs our attention as viewers not only to the historical work,
but also to our own viewpoint. Ultimately, the viewer is faced with the
question of how (historical) meaning can be constructed at all: "I would
say that I am interested in how objects, and in this case artworks, are
shaped, influenced, determined by their surroundings, how they are
constituted by the context, historical events, their creator’s mental
states, and what they say about the period and social atmosphere they
were created in—are they becoming creatures with memory, victims of
their times etc? (…) By physically entering the void, people will be
able to go back in time and re-enter the past, as well as experiencing a
specific new site for condensed anxiety, an expanded anxiety that
connects the period of the early 20th century with today, reaching
across to the anxiety of the present.”*
In his catalog essay, Karel Císař describes Lang’s relationship with
Gutfreund and his interpretative dialog with his work: "In Gutfreund’s
`Anxiety´ this idea of a vertiginous dissolution of human personality
seems only being approached – whereas Lang’s Expanded Anxiety is their
belated consequential fulfillment. With the single viewing perspective
of his smaller-than-life sculpture of a cowering woman, Gutfreund
prescribed to the viewers a liminal proximity, making them inspect the
edges of the figure submerging into the physical volume of the statue as
if into a rock. Lang, on the contrary, invites us into the innards of a
disclosed body, metamorphosed into a corrugated cave, thus radicalizing
Gutfreund’s effort to make sculpture flat – impossible to complete in a
closed volume, as available to an early 20th-century sculptor – but
also and primarily inducing the intended effect of vertigo and a loss of
individuality, caused by the loss of optical control.
At the same time, Lang maintains his systematic interest in the physical
and institutional aspects of the exhibition space, as his intervention
emphasizes the gloomy subterranean atmosphere of the lower galleries of
the Secession, and develops on the tradition of presenting an empty
gallery. We enter the innards of Expanded Anxiety as we would enter the
empty sepulcher of one’s own body.” (Karel Císař, catalogue essay)
Among others, Dominik Lang came to the attention of an international
audience with his work Sleeping City in the pavilion of the Czech and
Slovak Republics at the 54th Venice Biennale in 2011. This installation,
in which he interprets the unknown late-modernist sculptures of his
father Jiři Lang (1927–1996), brings together two artistic approaches
shaped by different periods and contexts. As well as enabling an
encounter with a forgotten generation, it also underlines the immanent
interplay between personal engagement and distanced observation, between
individual and collective memory, as well as the impossibility of
facing (one’s own) history. Last year, Lang had solo shows at Kunsthaus
Dresden, Galerie Krobath, Vienna, and the National Gallery in Prague.
His work was also featured in the Paris Triennial at the Palais de
Tokyo.
Dominik Lang, born 1980 in Prague, lives and works in Prague.
* all quotations from: Interview with Dominik Lang conducted by Annette Südbeck, catalogue, Secession 2013.
www.secession.at
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