066    Thomass’ truth

Screenshot 1
Iphone SE (2016) and black insulation tape
138.4 x 67.3 x 7.3cm

Screenshot 2
Iphone SE (2016) and black insulation tape
138.4 x 67.3 x 7.3cm

Why was it possible for 00Island’s PhillipsPflugfelder to see princesses, dwarves and the arms of Velázquez (Las Meninas, 1656)1 in two seemingly unrelated photographs (Hermitage 1, St. Petersburg (2005) / Museo del Prado 6, Madrid (2005) by the artist Thomas Struth? A crop of Hermitage 1, St. Petersburg (2005) exhibited to scale on an iPhone screen taped to a wall presents Audiences2 to audiences. «Is it more or less looking if a viewer is watching the work on a cell phone screen while standing in front of it?»3 In truth [Thomass’], the debate is not one of authenticity versus modern technology, but of conceiving new Ways of Seeing.4 Through the appropriation of casual consumption, Null Island conflates art through space and time. In doing so they search for a meta-language within the generated truths and myths. 00’s meta-language using myth as its ‘signified’ does not need to use image or artwork wholesale. Their placing of image (or a fragment) in new contexts through spectacle attempts to make the myth it ‘hosts’ explicit. 00Island’s pilgrimage-like staging at GK3 (think Quest and Enlightenment) adds to the heightened sense of Thomass’ truth.
1 Diego Velázquez, Las Meninas, 1656
2 Thomas Struth, Audiences (Series), 2004
3 Orit Gat, Could Reading Be Looking, e-flux Journal [Issue #72], 2016
4 John Berger, Ways of Seeing, 1972
*It is assumed that the audience is familiar with the content and concept of Thomas Struths Museum Photographs / Audiences Series


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