With
one's
own eyes

 


 

In Pirmin Blum's work art & media collide to a visual statement - defining the “Urskulptur"

 

Cruising NY, Tom Cruise, Londsdale forever, 2018
diasec on dibond with plexiglass, framed
190 x 140 cm

 

 

 

 

 

 

Triangle, 2018
inkjet-print, framed
190 x 140 cm

 

 

 

 

 

 

Golden Dust, 2018
diasec on dibond with plexiglass, framed
190 x 140 cm

 

 

 

 

 

 

"Pirmin Blum has employed various media to cite and subtly parody the visual and verbal clichés of
pop and minimal art throughout his career – as in the
‘Cowboys’ series, in which he demystified the cowboy imagery of Richard Prince. He „re-copied“ anonymous Marlboro adverts for sale on ebay than he manipulated it
until a final product in Photoshop and let it ressurect in a dematerialised version."

 

 

 

 

 

 

Peach Cowboys, 2018
diasec on dibond with plexiglass, framed
190 x 140 cm

 

 

 

 

 

 

Transit (right), 2018
inkjet-print, framed
190 x 140 cm

 

 

 

 

 

 

Portrait after a Self-Portrait of Vincent Van Gogh, 2018
inkjet-print, framed
190 x 140 cm

 

 

 

 

 

 

Avant Garde

 


 

A text reflecting the work by Gagosian Artist Taryn Simons titeled:
"MODERN ART WAS A CIA 'WEAPON'" -
was inverted to a Facebook post

 

 

By linking Taryns ideas on art-propaganda to social media, a chat with former Gagosian Curator Aaron Multon shapes Blums latest work.

 

 

 

 

Modern art was a CIA „weapon“ – a CIA „weapon“ – became Post-modern Art. The internet, 2018
screenshot - facebook-post - 01:23 - 25th of May 2018
 

 

 

 

Blum forms a triangle of Life, Death and Co-Incidence and creates a strategy to avoid inclusion of time. Avant-Garde (actually used as a french military term), facebook, Internet, and questions of localisation in the digital realm come into play.

 

 

 

Recall to Death
In
a Media

 

 


Pirmin Blum, Recall to death in a Media, 2015
Projection size variable

 

This video work represents a close-up of an odd process of shooting  / killing a mobile devise in a slow motion. Being a found footage from YouTube it might be seen as a straightforward illustration of the “war of images” that has changed both the media space and the space of actual military conflicts sourced out from the very space that is being discussed in it, namely the media.  However this poignant critique of the power of media and new technologies as a new weapon unfolds in the atmosphere reminiscent of American western movies, allocating the past and the present on the same plain.  At the same time unlike western stories where there is always a hero or an antihero in this video the person carrying out the action is left behind the scenes, pushed out of the process triggered by him/her. Without a human being in the frame of the video we face the technology versus technology conflict, that might be considered as an endpoint of technology, but a new start for reconsidering humanity.
Splinters of a screen glass flying apart create for the viewer a shimmering mesmerizing effect that reconciles the video with MTV aesthetics. In so doing the video itself intensifies the mechanism it’s supposed to uncover – when serious narrative is overshadowed by the glory of the image. And this approach is doubled by the infinite resurrection of the mobile phone, created with the help of endless repetition effect.

Anna Zhurba
Phillips Moscow

 

 

 

Now Man’s
Bound to Fail,
More

 

 


Pirmin Blum, XBox vs C4, 2015
Projection size variable

 

This video shows a bounded xBox vs C4 in a desert Landscape – waiting to explose

 

 

 

 

The
new
organ

 

 

Pirmin Blum, Last Call for Do-It-Yourself (Annlee), 2002/2018 Tate Modern London
size variable

 

 

The artist Joe Scanlan built in 2002 a coffin out of IKEA cabinet parts. I appropriated the "coffin" than let
New York-based singer-songwriter Adam Green performing to resurrected in "Lanvin" clothing and turned the "coffin" 90 degrees, metamorphosed into a piece of furniture again
.

 

 

 

 

 

With
one's
own eyes

 


 

Douglas Gordon was known in 1993 with the video installation 24 Hours Psycho, in which he expands a commercial video cassette of Alfred Hitchcock's Psycho (1960) for a period of 24 hours. By letting Douglas Gordon's eyes - (which I copied into his work as found footage from the Internet) - and now let him look through his own work "Blind Stars.

 

Douglas Gordon is looking through his own work (Blind Stars), 2014
inkjet-print, framed
90 x 120 cm

 

 

 

 

 

 

First, "The logic of being interrupted": A waist-high pile of earth holding a monologue in the middle of the room, up on a pedestal, a light spot resting on its summit, and on the back, half buried by soil, a souffle box. - Did the earth forget its text ? Did she forget what role she plays? Who prompted? - Conversely, the question: what does the earth/soil hold?
What is hidden / hidden in the mountain? According to Pirmin Blum's own sensation, earth is both a store of life, a life-giver, and a kind of narrative memory. "Untitled (Black Beauty)": A corridor leads to the next space cube, which in turn acts as (only) a corridor, a tunnel. (both dressed in black, glittering in the light packaging film), because behind lures again a light room. Fourthly, "with one's own eyes": Here is a gallery space in the common sense with sculptures on the wall, namely five large-format prints. Sujets are larger than life shots of the faces of Donatello and Michelangelo's sculptures. From the black-and-white illustrations, the "dead" stone eyes were cut out and replaced with "vibrant" color photo eyes by actor personalities of the 1970s and 80s. Who sees who ?! Who watches whom from what (time) perspective ?! We did not know his unheard head, in which the eyeballs ripened. (...) because there is no place that does not see you. You have to change your life. (Rainer Maria Rilke, Archaic Torso Apollos, 1907)

Aurelia Jurtschitsch
http://www.artmagazine.cc/content44939.html