Models & C-Prints. 2002-2006
Exhibition Dortmunder Kunstverein 2006
Curator: Dr. Christoph Kivelitz
Anton Markus Pasing moves on the threshold between architecture and the fine arts. In virtual projections, photographic works or real, tangible models, he shapes model situations that make basic social, political and ethical dispositions experimentally visible in exaggerated form.
The exhibition 3SECONDS documents two results of this study: on the one hand a montage of objects making a quasi autonomous reality out of model components, on the other hand a photographic replica of partial aspects of this installation. The digitalized image is set in motion for a period of 3SECONDS, and the portrayal of the instant, which in the object montage looks frozen, thus regains the instability of a moment, the felt duration of which is statistically set at exactly 3SECONDS. Here, past, present and future seem to melt into each other, as it were in a cinematic procedure. The closed character and the intrinsic valence of the still-life-like situation are fractured, thus restoring to the scene the inconsistency of reality. However, the factual reality of these images remains so open that the observer has to engage his own associations and memories.
Constructed model worlds are not meant to be exemplary, but rather to be miniature reflections of the reality of life. The presupposition for the creation of these worlds is a precise study of everyday life in all its facets, and its reproduction in the dimensions of toys. Reducing the size makes it possible to rise above one’s own environment so as to be able to act in it with complete freedom, shift components or fit them together anew, bring about catastrophes or bring about reconciliation. The point of departure is a selective study of the question as to what can serve as a model to prototypically or archetypically mirror our present. Hence, construction model worlds will look completely different in different cultural and social milieus even though the concept has an immanent claim to universality.
Ultimately, they are only sections, fragments standing pars pro toto for a social, economic and cultural phenomenon. Every model manufacturer, every label touches its own level of reality – which also pertains to its corporate identity – whether it be the world of cosmetics and fashion for baby dolls, the logically constructed cosmos of Märklin, Faller, Playmobil and Lego, or the cosy world of Steiff’s toy animals. Economic aspects also have an effect by way of sponsors and advertising partnerships as evidenced by the more or less tactful placement of company or product logos.