Série: Natura facit saltus - bande continue
Edgar Lissel
Photography - 90 x 70 x 0.1 cm Photography - 35.4 x 27.6 x 0 inch
$9,491
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Série: Natura facit saltus - caractères espace,
2017
Edgar Lissel
Photography : fine art print
100 x 125 x 0.1 cm 39.4 x 49.2 x 0 inch
$9,491
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About the artwork
Type
Numbered and limited to 5 copies
1 copy available
Signature
Signed artwork
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
100 x 125 x 0.1 cm 39.4 x 49.2 x 0 inch Height x Width x Depth
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: Germany
Ruptures in the cinema of the mind.
Encounters with Natura Naturans
It is a proven fact that all great ages have linked their zeitgeists to individual organs. In antiquity, it was the gall bladder, in romanticism the heart – while the contemporary spirit is defined neurologically. There is a great appreciation for the cognitive and the technological, which set the scales for how to act and are understood to define why we feel and think the way we do. Our world is formed by an obsession with the explanatory and the empiricist gain of knowledge. We spend our lives in a cinema of the mind. And it keeps running and running. Only when we cease the pursuit, immerse ourselves and open up to the unexpected and the unknown contemplatively, can we recognize the ruptures. Once we accept these ruptures, we are able to look further.
What is happening beyond? What can we detect? Perhaps the interiors of our non-conditioned psychic and spiritual force fields that murmur of the forgotten and suppressed? Our natural being in joyous moments of connectedness with everything that we are and that surrounds us? And also that nature plays and throws the dice (“Natura Facit Saltus” – as a group of works is entitled), and, in a continuing process of creation, produces the most bizarre events and shapes. It is this gazing view that Edgar Lissel has cultivated and that he lets roam in purposeful purposelessness from bacteria to water to insects to rocks, which he captures with various methods of photography, driven by the curiosity to “perceive whatever holds the world together in its inmost folds” and by a childlike amazement at these processes that become apparent through contemplation and dedication.
This view on nature means looking at forces that connect and bind the seemingly countless individual pieces of conscious perception, even the mere intuitions of the subconscious: the forces of ongoing processes.
These forces are not only inherent in all living systems, but are in fact their elementary motor. It is exactly these powers that connect the macrocosm to the microcosm and work from the past to the future. In these networks of unimaginable combinations there is a constant formation of force fields of compressed energy and intensifications. Linear concepts of time and space spiral; leaps, multidimensional escapades occur, generating images much as we can encounter them in Lissel’s works.
The fascinating photograph of a footprint in a tidal flat, that immediately merges with the mud’s bacteria, generating countless air bubbles – as the source of further life – conveys to us a hint of the notion of what may be taking place in the realm of the non-visible, non-perceivable, unknown to factual reality, just as the images of bacteria at work on and in our bodies, which – unnoticed by us – enter marriages with life and – unknown to us – incorporate us into life literally.
The fossilized movement of water (“Gezeitenwellen“ – “Tidal Waves“) and the petrified primal drops on a piece of soil convey to us the sentiment of an age-old mystery: how can something immediate be eternally condensed from a momentary movement to a print? Which atmospheric constellations, which frameworks of time and space must be in place to create this paradox? An alchemistic connection of the elements which otherwise would never have come in touch with each other evokes visions of the desire for immortality in us, and for a total immersion in the moment.
Edgar Lissel’s revelations of messages conveyed by celestial bodies, which appear like blueprints from another dimension and which enter our perception like visitors, transform into something familiar, something that doesn’t approach us from the outside but emerges from within.
Claudia Weinzierl, Vienna
Read more
Encounters with Natura Naturans
It is a proven fact that all great ages have linked their zeitgeists to individual organs. In antiquity, it was the gall bladder, in romanticism the heart – while the contemporary spirit is defined neurologically. There is a great appreciation for the cognitive and the technological, which set the scales for how to act and are understood to define why we feel and think the way we do. Our world is formed by an obsession with the explanatory and the empiricist gain of knowledge. We spend our lives in a cinema of the mind. And it keeps running and running. Only when we cease the pursuit, immerse ourselves and open up to the unexpected and the unknown contemplatively, can we recognize the ruptures. Once we accept these ruptures, we are able to look further.
What is happening beyond? What can we detect? Perhaps the interiors of our non-conditioned psychic and spiritual force fields that murmur of the forgotten and suppressed? Our natural being in joyous moments of connectedness with everything that we are and that surrounds us? And also that nature plays and throws the dice (“Natura Facit Saltus” – as a group of works is entitled), and, in a continuing process of creation, produces the most bizarre events and shapes. It is this gazing view that Edgar Lissel has cultivated and that he lets roam in purposeful purposelessness from bacteria to water to insects to rocks, which he captures with various methods of photography, driven by the curiosity to “perceive whatever holds the world together in its inmost folds” and by a childlike amazement at these processes that become apparent through contemplation and dedication.
This view on nature means looking at forces that connect and bind the seemingly countless individual pieces of conscious perception, even the mere intuitions of the subconscious: the forces of ongoing processes.
These forces are not only inherent in all living systems, but are in fact their elementary motor. It is exactly these powers that connect the macrocosm to the microcosm and work from the past to the future. In these networks of unimaginable combinations there is a constant formation of force fields of compressed energy and intensifications. Linear concepts of time and space spiral; leaps, multidimensional escapades occur, generating images much as we can encounter them in Lissel’s works.
The fascinating photograph of a footprint in a tidal flat, that immediately merges with the mud’s bacteria, generating countless air bubbles – as the source of further life – conveys to us a hint of the notion of what may be taking place in the realm of the non-visible, non-perceivable, unknown to factual reality, just as the images of bacteria at work on and in our bodies, which – unnoticed by us – enter marriages with life and – unknown to us – incorporate us into life literally.
The fossilized movement of water (“Gezeitenwellen“ – “Tidal Waves“) and the petrified primal drops on a piece of soil convey to us the sentiment of an age-old mystery: how can something immediate be eternally condensed from a momentary movement to a print? Which atmospheric constellations, which frameworks of time and space must be in place to create this paradox? An alchemistic connection of the elements which otherwise would never have come in touch with each other evokes visions of the desire for immortality in us, and for a total immersion in the moment.
Edgar Lissel’s revelations of messages conveyed by celestial bodies, which appear like blueprints from another dimension and which enter our perception like visitors, transform into something familiar, something that doesn’t approach us from the outside but emerges from within.
Claudia Weinzierl, Vienna
About the seller
PHOTO EDITION BERLIN • Germany
Artsper seller since 2015
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Presentation
Edgar Lissel works with different types of photography with a conceptual focus. His works are not committed to classic photography, but rather the photographic, and always link back to the roots of this medium, translated into a practical form of photographic research. By focusing on the process of production, his work offers a way of (re-)interrogating the photographic apparatus from the perspective of production. In his interdisciplinary artistic projects in collaboration with microbiologists, archaeologists, and biomolecular engineers, he seeks out the field of tension between natural science, archaeology, art history, and artistic work.
After receiving a scholarship from the German Academy Rome Villa Massimo at Casa Baldi he moved to Vienna, where he has lived since 2005. Since the early 1990s Edgar Lissel has been working as a visual artist. His works have been exhibited internationally, including at the Venice Biennale of Architecture, the Städelmuseum in Frankfurt am Main, the Kunsthalle Krems, Austria, the Galleria d’Arte Moderna Bologna, and the Museum der Moderne Salzburg. His projects are featured in numerous international publications, both artistic and academic.
Edgar Lissel has received several awards for his artistic work, including the 2010 Austrian State Stipend for artistic photography. Since 1998 he has taught art and photography at universities in Austria (2005–2009 University of Applied Arts Vienna; 2012 and 2014 visiting professor at the University of Applied Arts Vienna) and Germany (2010 visiting professor at the Folkwang University of the Arts, Essen).
Read more
After receiving a scholarship from the German Academy Rome Villa Massimo at Casa Baldi he moved to Vienna, where he has lived since 2005. Since the early 1990s Edgar Lissel has been working as a visual artist. His works have been exhibited internationally, including at the Venice Biennale of Architecture, the Städelmuseum in Frankfurt am Main, the Kunsthalle Krems, Austria, the Galleria d’Arte Moderna Bologna, and the Museum der Moderne Salzburg. His projects are featured in numerous international publications, both artistic and academic.
Edgar Lissel has received several awards for his artistic work, including the 2010 Austrian State Stipend for artistic photography. Since 1998 he has taught art and photography at universities in Austria (2005–2009 University of Applied Arts Vienna; 2012 and 2014 visiting professor at the University of Applied Arts Vienna) and Germany (2010 visiting professor at the Folkwang University of the Arts, Essen).
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