REALISED WORK SERIES / XEROGRAPHY2023

ABLICHTUNGEN

A book is made visible as distance, interruption and material structure: writing remains present precisely where it becomes unreadable.

CONCEPT

Ablichtungen takes Julian Schutting's poetry collection in der Sprache der Inseln as its point of departure. Its pages are subjected to repeated xerographic enlargement. Words, margins, folds, shadows and the physical edge of the book enter the image on equal terms.

Some pages are divided into three equal strips and recomposed. Text is displaced beyond the frame, fragmented by an invisible boundary or removed from sight. In the final sequence, the few remaining textual traces are covered by black fields.

The series does not illustrate Schutting's poems. It approaches the book from a distance, transforming reading into an encounter with scale, interruption and the material conditions of language.

SELECTED WORKS

EIGHT FROM
A SERIES OF 68

Ablichtungen, work 60 from the series — *Ablichtungen* · No. 60 · 2023 · 20 × 20 cm

Ablichtungen, work 61 from the series — *Ablichtungen* · No. 61 · 2023 · 20 × 20 cm

Ablichtungen, work 63 from the series — *Ablichtungen* · No. 63 · 2023 · 20 × 20 cm

Ablichtungen, work 66 from the series — *Ablichtungen* · No. 66 · 2023 · 20 × 20 cm

Ablichtungen, work 68 from the series — *Ablichtungen* · No. 68 · 2023 · 20 × 20 cm

Ablichtungen, work 70 from the series — *Ablichtungen* · No. 70 · 2023 · 20 × 20 cm

Ablichtungen, work 71 from the series — *Ablichtungen* · No. 71 · 2023 · 20 × 20 cm

Ablichtungen, work 72 from the series — *Ablichtungen* · No. 72 · 2023 · 20 × 20 cm

TEXT ON THE WORK

After Gisela Steinlechner, 2023

THE BOOK AS AN IMAGE APPARATUS

Gisela Steinlechner reads Kleinlercher's xerographic process as an examination of the book's physical and visual conditions. Enlargement brings forward details normally subordinated to reading: the grain of paper, shadows in the fold, page edges and the optical distortions produced by the copying machine.

The technique literally becomes a form of “dry writing.” Through repetition, fragmentation and blackening, the source text recedes while a second, image-based language emerges. Legibility is not simply destroyed; it is suspended and redistributed across a field of material traces.

SOLO EXHIBITION