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<span></span>-plastic sculptures of prosthetics, fragments of bodies in slick, corporate office environment<br>-closeups of sculptures—camera/camera person fetishizing these objects. sensuous objects, but more importantly (for me)—sensuous camera movement about the objects<br>-body sculptures links by contrast and similarity to sculpted and flat-veneer surfaces of office furniture<br>-drawing on window with hand—transforms whole scene into virtual surface. who’s hand? camera person’s hand? <br>-handmade sculptures vs industrially made office furniture<br>-only ‘actual’ bodies are walking in the background<br>-Who is speaking this piece?—the movement of the camera. We follow camera’s tracking of objects. Camera moves sensuously, deliberately, with control and calculation. Camera movement seems to be the ‘most human’—contingent, controlled but unpredictable, intensional but inexplicable<br><br><br><br>On Thu, Jul 5, 2018 at 10:52 PM Daniel Lichtman <<a href="mailto:danielp73@gmail.com" target="_blank">danielp73@gmail.com</a>> wrote:<br>><br>> Another artwork that explores touch.<br>><br>> Johann Arens<br>> Moulding Exclusivities<br>><br>> Video link: <a href="https://vimeo.com/223404129" target="_blank">https://vimeo.com/223404129</a><br>> Password: Empyre<br>><br>> Johann Arens (b. 1981, Aachen, Germany) uses installation and video to survey the documentary properties of public interiors and their inherent social textures. By deliberately placing artworks atypically he redirects attention to places in the peripheral vision. His sculptures are found embedded in standardised work environments, educational frameworks, community centres, neighbourhood businesses and digital inclusion charities. These site-related interventions are enquiries into the multiple ways novel technologies device our communal life and shape civil behaviour.<br>> <br>> Recent exhibitions have included ‘Ecologies’ Bold Tendencies , London, UK (2018); ‘Findings on Palpation’ P/////AKT, Amsterdam, Netherlands (2018); ‘digital_self’, Irish Museum of Modern Art, Dublin, Ireland (2017); ‘These Rotten Words’, Chapter Art Centre, Cardiff, Wales (2017) ‘Preis für Junge Kunst’ NAK, Aachen, Germany (2016) ‘You Ain’t Seen Nothin’ Yet’, Beursschrouwburg, Brussels, Belgium (2016). Public commissions have included Motion Tracks, Kettle’s Yard, Cambridge, UK (2016); Platform 2016, Deptford X, London, UK (2016); and 100 Arches, Arnolfini and Art and the Public Realm Bristol, UK (2014). Johann recently completed residencies at SPACE, London (2017), Asia Culture Centre, Gwangju, South Korea (2016) and at the Rijksakademie, Amsterdam (2014/15).<div class="gmail_quote"><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div><div id="m_2105321249473137156m_7880929382620956774compose-container" style="direction:ltr"><div>
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