I am pleased to announce the release of Voids: a limited edition publication documenting the art in public space project of the same name. The publication includes text contributions by Ingeborg Erhart, Vice Rector of the Academy of Fine Arts Vienna and former head of the Tyrolean Artists' Association and Veronika Sandbichler, Director of the Museum Schloss Ambras in Innsbruck, as well as a photographic documentation of the works. In addition, eight postcards with the subjects of the works are enclosed with the publication.
Format: 198 x 280 mm, 24 pages, offset printing
Paper: Blueback poster paper, Munken Polar Rough 170 & 100g, Arctic Volume Highwhite 130g
Edition: 100 pieces
Texts: Ingeborg Erhart, Veronika Sandbichler
Language: German
Photos: West.Fotostudio
Layout & Design: Lucas Norer
Including 8 postcards, offset printing, Munken Polar Rough 300g
Cover of the publication can be folded out to an A2 poster.
If you are interested, you can order the publication for Euro 15,- plus additional postage costs.
Please send an email to the following address: lucas[dot]norer[at]gmail[dot]com
Voids
Art in public space, Billboards & Postcards July & August 2019 in Innsbruck, Landeck, Schwaz, Kufstein, commissioned by art in public space Tyrol.
The work was realized within the framework of „Year of Maximilian“ - on the occasion of the 500th anniversary of the death day of Emperor Maximilian I. The poster and postcard series Voids is inspired by the woodcut prints of the Triumphal Procession of Emperor Maximilian. The various empty spaces and unfinished elements of the original prints pose key areas of interest. Since the prints were never completed, there are numerous gaps in the 147 sheets. These are visible as black sections – areas initially left blank for inscriptions but never finalised. For Voids, eight graphics are extracted from the woodcuts that present these gaps as independent works. In contrast to the opulent prints of the Triumphal Procession, the reworked graphics are kept simple and abstract in black and white. The mode of presentation of these works as billboards and postcards in public spaces is a reference to the original intention of the woodcuts as a means of propaganda proclaiming the glory and splendour of Emperor Maximilian. In contrast, the graphics depicted in Voids provide a subtle intervention, or rather a disturbance. In their incompleteness, they allude to the many blanks and inconsistencies inherent in historiography
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