Gerz is trying to work against the myth of the artist. Unreflective acceptance and mechanical, linear use of language and images result in their destruction as a form of communication, similar to what Vilém Flusser analysed and described as the fate of technical pictures. Here, two positions meet that are trying to reach related, perhaps even analogous goals. Their common ground is doubt and scepticism about thing, things that are and yet are not, and the way things purport to be.Andreas Vowinkel 1992
6 framed photographs, each 40 x 50 cm, all over 240 x 50 cm
Fonds Régional d’Art Contemporain Nord - Pas de Calais
New York 1991. Bremen 1992 (Karlsruhe 1993. Manchester 1993. Saarbrücken 1993. Altenburg 1993. Potsdam 1993). Sydney 1996 Canberra 1996. Brisbane 1996. Melbourne 1996). Dunkerque 1997. Maubeuge 1999. Rotterdam 2002.
I: Bremen 1992, p. 104, Maubeuge 1999 p. 18
II: Potocka 1991, pp. 43-45. Bode 1992, p. 67. Red. 6, 1993, p. 40
VI: Gaehtgens 1992, p. 136