Interference

interferece @ Akron Molecules / Vienna Bio Center

julie gufler, mads hvidtfeldt, phelim mcconigly, tom phelan, stefan reiterer, nikolaus suchentrunk, mads westrup, lea von wintzingerode, dario wokurka, amelie zadeh

Patterns that assume divergent or complementary views within similar spaces are often and consistently viewed as something from a scientific realm, but the theory also holds true for that of artistic positions that are multiple, digressive, confrontational, complementary or referential in their aspects of discussion, from theoretical considerations to anti-formal spatial compositions.

The visualisation of interference patterns, irrespective of the artists’ individual opinions, tend towards complex investigations of those references, that emerge through the parameters of referential as well as phenomenological approaches.

Interference patterns emerge when multiple subjective artistic opinions transform their mutual presence through re-organization of space and reorientation of the spectacle of exhibition into one where the individual outset can find unexpected combinatorial potential. In this sense, ‘interference’ displays a momentum of exchange through multiple positions.

To comprehensively describe the relationship existing within the show, it is necessary to involve the relationships of convergent and divergent positions on aesthetics, orientation and depiction of space. These are not a series of parallel positions, but rather a field of view that emerges from the juxtaposition of these points, the ebb and flow of the language of aesthetics towards simple visual structures, such as those seen in interference patterns. They are produced from multiple origins, reference social or historical epochs, and seek new directions in understanding.