Re-projection

source: blogstevekrauseorg

Influenced by the utopian projects — and notable failures — of innovative artists and designers such as Buckminster Fuller, Frederick Kiesler, and Charles Eames, Tobias Putrih likens his works to experiments, or design prototypes. His use of cheap materials, including egg crates, cardboard, and plywood signify both a sense of potential and impending collapse. Many of the artist’s works reference the architecture and spectacle of the cinema: a space suspended between fantasy and reality, image and environment. With Re-projection: Hoosac Putrih distills the cinema to its most basic element: fishing line stretched across the gallery mimics the conical trajectory of a beam of light. A spotlight hits the strands of monofilament which in turn become a screen, reflecting an image in illuminated dots. Inspired by the Hoosac Tunnel just east of North Adams — a storied, engineering marvel that draws ghost-hunters to the area — Putrih’s tunnel is, likewise, both real and a representation, an optical trick that invites both wonder and investigation.
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source: bienalorgbr
​Na cambiante fronteira entre as artes visuais e a arquitetura, as estruturas de Tobias Putrih podem atender às necessidades de um programa arquitetônico, representar em si uma obra de arte ou contribuir como display de outros trabalhos. A confluência de referências faz com que, em todos os casos, seus trabalhos evoquem alguma memória da modernidade do século 20, seja pela alusão aos projetos construtivistas e às estruturas efêmeras da década de 1960, seja pelo contraste com a geometria pura que consagrou a arquitetura moderna. Essa experimentação espacial se fortalece pela relação com o cinema e seus dispositivos – marcos essenciais da mesma modernidade a que se referem suas formas. No terreiro A pele do invisível, Putrih abriga um espaço de projeção de vídeos com uma estrutura modular de madeira e papelão cujo traço inspira-se nas colunas do Palácio da Alvorada, projeto de Oscar Niemeyer. Além de uma homenagem a Brasília, o artista realiza um processo de recobrimento, no qual o ponto de apoio claro e resplandecente do palácio é recoberto por uma pele intrincada que reitera e boicota a leveza do conjunto, tornando casca protetora o que era objeto de contemplação distanciada.
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source: qagomaqldgovau
Tobias Putrih’s often concept-based work comprises drawings, illustrations, plans, sculptures and intricately designed constructions, which he has referred to as ‘intimate, proto-scientific and slightly ironic models’.1 His work engages with particular aspects of modernist history such as political and social utopianism, modernist architecture, the origins and evolution of cinema and the parallel development of utilitarian constructivism and aestheticism. Putrih was born in Slovenia in 1972 and grew up in Tito’s Socialist Republic of Yugoslavia. After graduating from the Academy of Fine Arts, Ljubljana, in 1997, he moved to West Germany, where he subsequently studied at the prestigious Kunstakademie Dusseldorf in 1997–98. Exhibiting regularly across Europe from the mid 1990s, Putrih came to broader international attention in 2002 with his inclusion in ‘Manifesta 4’ in Frankfurt. He has lived in New York City since 2004.
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source: picamemag
Tobias Putrih è un artista di origine slovena che vive e lavora tra Cambridge e New York. Le sue sculture sono state ospitate in tutte le più importanti Biennali d’arte.