Florian Pumhösl processes the tropes of art, architecture and graphics of the modernist avant-garde to create new aesthetic systems through painting, film and installation. He addresses the legacy of modernism through its canon of abstract visual language, from utopian architectural plans and buildings to innovations in publishing, the politics implicit in exhibitions and the motifs of early experimental filmmaking. In a series of minimal glass paintings, geometrical shapes float in space, while their titles – including Plakat (Poster), Seite (Page) and Aushang (Notice) – identify the shapes as reductions of typographical elements from the 1920s. Where their original function was to aid interpretation of a text, here they are devoid of text and interpretation proliferates, striking a chord with abstract artists such as Josef Albers and Walter Dexel. In OA 1979-3-5-036, 2007, Pumhösl converted a 17th-century Japanese Kimono pattern catalogue into a 16mm animated film, selecting, simplifying and rearranging the patterns in order to ultimately arrive at a typology of fragments. Again, the title grounds the work in research: it is the British Library catalogue number for the original source. Moving between countries and media, Pumhösl picks up the skins shed between prototypes and artefacts, in readings that undermine the possibility of closed cultures.Read More
Florian Pumhösl was born in Vienna in 1971, where he lives and works. He studied at the Höhere Grafische Bundeslehr und Versuchsanstalt Wien (1989–91) and the Hochschule für angewandte Kunst Wien (1989–97). Solo exhibitions include Kunsthaus Bregenz, Bregenz, 2012, the Art Institute of Chicago, 2012, Mumok, Vienna, 2011, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, 2010, Musée d’Art Moderne Grand-Duc Jean, Luxembourg, 2009, Neue Kunsthalle St. Gallen, 2005–6, Secession, Vienna, 2000. He participated in documenta 12, Kassel, Germany (2007) and São Paulo Biennial (2006).
Text courtesy Lisson Gallery.
Artists have, of course, done many marvellous things with the continuous line. They have taken it places, crawling off the page or squiggling into three dimensions, becoming a physical thing of itself, freed of representational duties. Line, a new show at the Lisson Gallery in London, guest curated by Mary Doyle and Kate Macfarlane of the Drawing...