“Das Hier und Jetzt des Originals macht den Begriff seiner Echtheit aus”
In der Installation Plastik/Plastique setzen sich Michael Koch, Karl Salzmann und Marcus Zobl, mittels unterschiedlicher Strategien, mit den Themenbereichen Materialität, Konsum, Vervielfältigung und Reproduktion auseinander.
Kann ein Produkt der Wegwerfgesellschaft rekontextualisiert werden - und wenn ja - was bleibt von der ehemaligen “Aura” bestehen? Nimmt unser Auge, geblendet von serieller und ästhetisch arrangierter Inszenierung, die Objekte nun anders wahr?
 Benjamin, Walter, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit
The 3 artists are oscillating between new media, sound and classical fine art. This reminds us of Walter Benjamins perception of an object´s aura: its unique existence in time and space. Presence is a prerequisite of authenticity for Benjamin.
In the installation Plastik / Plastique, Michael Koch, Karl Salzmann and Marcus Zobl used different strategies to deal with the topics of materiality, consumption, reproduction and reproduction.
Can products by the throwaway society be recontextualized - and if so - what will remain of the former "aura"? Will our eye, blinded by serial and aesthetically arranged staging, perceive the objects differently?
3 artists from different genres, Michael Koch, Karl Salzmann and Marcus Zobl, are oscillating between new media, sound and kind of transformed classical painting. This reminds us of Walter Benjamins perception of an object´s aura: its unique existence in time and space. Presence is a prerequisite of authenticity for Benjamin. In terms of Benjamin, the box by Karl Salzmann is a painting, even it was a closed bottle filled with solid carbon dioxide snow and colour before. The blast of the bottle was the act of painting. The former unique existence was transferred into another texture and shape. Transforming and adapting are the principles of the installation by Michael Koch. He accumulated plastic bottles like a floating iceberg, illuminated from the inner side of the bottles, and created a poetic blincky installation. The focus in Marcus Zobl film was on the cut of his movie he has made in the bottle factory. His editing can be compared with a musical score, as Andreas Spiegel mentioned. The music is subordinate to the cutting, the images are fully in line with the sequences of rhythm.
The 3 positions are all originated in an formal and intellectual idea, arising by an excitant, important developing suggestions combined without loosing the personal position of interpretation. Thats why it worked to start at the same point and to require insights and skills as well as artistic points of view.
Though the show was impressing by itself, it was an awesome stage design for the performance by the photo- and sound artist Antonia Wagner-Strauss. In her sound project TONY RENAISSANCE, she goes a step further as a musician. Her androgyny coupled with vocal variations from girlish whispers to delicate dark instructions, an obviously elven fragility combined with incredible power and stage presence both confuse and bewitch at the same time and fitted absolutely perfect in the installation. The movie by Marcus Zobl worked as a mute background as well as the light reflexes of Michael Kochs monument and combined with the intense music the whole evening wrapped the audience in a contemplative mood.
Text Denise Parizek 2017