Timo Hinze
Coffee machine, fruit bowls, tripod - it's objects, mostly copied elements of international marketing offices' interiors, which create lifestyle and atmosphere by means of visual presentation and representation, articulating symbolic value and distinction. Timo Hinze's images seem to be clearly depersonalized, artificial and empty, but what they are all aiming for is to produce a dense subjective setting; by arranging virtual objects.

As silent and still Timo Hinze's renderings (2013-2015) seem to be, as much they are dealing with mobility, flexibility and contemporary conditions of production. This kind of production can be considered as neoliberal interpretation of work: guided just by ourselves, our subjective potential of imagination and vision. In this context, the image serves as phantasmatic screen for everything what can be produced potentially. It points out the act of being on display, which finally not only represents, but produces our subjectiveness.

By working with computer generated pictures, Timo Hinze reflects the role of visual production within visuality itself. It is not about the image, but about its potential to produce - its possibility to set even given objects in different virtual contexts and open them to a global market perspective of flexible value formation.
It is a rather silent and slow way of getting insight into more than a hundred museums in just sixty minutes, which Julian Irlinger's film Drift (2015) offers. Black and white slide show aesthetic meets a flood of digital data: screenshots taken out of virtual museum tours, provided by Google's "Cultural Institute", a platform which includes "Google Art Project" and hosts high-resolution images of artworks from a range of international museums. Is it a reminiscence on analogue times, an emphasis on missing narratives in an overload of virtual content?

Drift is far from sentimental accusation. It however follows the logic of contextualization within seemingly random possibilities of perspective and access. Virtual museum tours embed our view into a system of supposedly objective display strategies, but which always follow the narratives of economy, media and technology - thus navigating our personalized gaze.

Julian Irlinger enters this perspective. By extracting a large collection of possible views as screenshots, he highlights moments of appropriation and pause, capturing the very banal within every picture. The perception of guidance and time, central parameters to every exhibition, takes place in a strictly clocked order. There is no clicking, no scrolling and no artwork in prominent position - but drifting through an endless amount of anonymous views.
Julian Irlinger (1986, Germany) lives and works in Frankfurt am Main

Listening to Hanne Lippard's words, we might recognize familiar phrases borrowed from our web conversations with lovers, friends, followers or followed objects. Yet it is not a simple reproduction or mounted copy of web content. Words and contexts we potentially know from virtual interactions now interact with themselves, fragmented and repeated, resulting in a sometimes mechanical, sometimes melodic rhythm.

It is the performance of words which communicates not their informative value but instead, like links or hashtags, lead to associative loops and apparent diversionary tactics. In constant absence is both the object of creation and the creating subject; story and author are equally missing, replaced by spoken re-arrangements.

The poems of Nuances of No (2013), Lippard's first comprehensive collection of text work, may partly root in her education as graphic designer. Treating words like visual parameters, they produce meaning just by their form and sound; fragments of communication create aesthetic claims. It is the voice, the act of speaking, which realizes data and symbols as context, even though exaggerated to the point of absurdity.
It may seem confusing at first to face a diagrammatic network of text fragments, which furthermore apparently reflect, construct and deconstruct themselves, always pointing on their own abstract existence. As a matter of fact, Falke Pisano's work Figures of Speech (2006-2010) rather resembles an investigation about the construction of artworks than a presentation of artistic outcome.

Referring to a long-term process of research, her work manifests itself as variations of statements, quotes, questions and doubts, always circulating around its conditions of perception and potential of coming into the world. Pisano's interest is rooted in the transformation of concrete language into abstract sculptural forms, in the potential of changing shape, form and media as an ongoing process.

The choice to collaborate with artist and designer Will Holder in order to transform the Figures of Speech in printed matter, reflects the purpose to grasp objects or objective propositions not as facts, but as hybrid entities. Set in a structural framework, the single speech acts move within a relational site, open to other contexts and combinations. The formulation as an object - a figure of speech - marks a viewpoint from a certain position: author, text and spectator participate in the act of construction and thus eventually realize a performative setting - a view.
What we see is what she shares: Rebecca Stephany interconnects her google slide residency at www.studio-47.org with ON VIEW's online exhibition. Fast, flashy and strikingly direct, she performs a circulating, networked existence by staging her artistic production as slide show, meandering between theatre play, research pool, diary and work protocol.

Yet Working Clothes (2015) does just not serve as a further showcase for a profile performance among the stylized economy of exhaustion, self-exploitation and constant chase for deadlines. It rather speeds up the fragmentary script of a highly subjectivized logic of production, which claims realms like aura and authenticity while never being able to inhabit them.

Rebecca Stephany articulates the human body as social model for branding its own identity, repurposing "Holland Hardcore", the trademark of the Dutch hardcore techno scene, into working clothes for cultural producers - thus transcribing a kind of self-inflicted extreme bodily performance from the dancefloor to the workfloor, its attribute of style included. In her shirt collection, elements like latex and thermochromic ink make the clothes responsive to the body's movements and temperature. Fashion is set in parallel to the performed image online on one hand and its levels of stress on the other: A second skin encodes the self.

The residency at studio-47 therefore less serves as a screened process of work, providing a process-based product in the end; it stages the paradox production of subjectivity, self-awareness and individual creation under conditions of an indispensably scripted self-display.
A.R. practice is based on the conceptual and artistic collaboration of the curator and theorist Agnieszka Roguski and graphic designer Ann Richter. It consists of an analytical working method, which already took shape in June 2014 at Haus der Kulturen der Welt in Berlin as an installative display within the exhibition project Returning to Sender.

The linkage of the different practices and disciplines to thematically aligned arrangements under a socially relevant question is the core of the working method. Thus, each project can be seen as a process, which aims to articulate contexts in both an analytical and creative manner, to deconstruct and open them to the public.