After almost two semesters exploring a range of approaches of doing and undoing frames and frameworks across disciplines, the exhibition Framed, Unframed presents experimental and preliminary, personal and conceptual answers to the course Concepts of Art Theory.
Contributions by Casey Asprooth-Jackson, Letizia Balzi, Katherine Butcher, Hasan Daraghmeh, Unnur Andrea Einarsdottir, Nanna Hougaard, Lou Vincent de Lestrade & Solène Pasztor, Veslemøy Lilleengen, Thea Meinert, Martin Palmer, Hilde Pytkowski, Sebastian Schumacher, Anaclara Talento. Curated by Annett Busch.
In painting and photography, a frame marks the border of the canvas; in film and performance, frames are single images that separate and contain a movement. By managing what is visible and what is present, processes of framing and un-framing are constitutive for the understanding of visual art.
The image is seen, rather than understood, as a storage unit for framed portions of reality. It is stamped out from an open field while its borders become both increasingly dynamic and asymmetrical. Such a technical definition allows us, first of all, to distinguish the image from the model. But it also raises the question what could be the significance of being in or out of the frame, in a post digital age?
Interfering with what is given or predominant, processes of framing and un-framing suspend the conventions of traditionally accepted frameworks as well as their actual conditions, in the true sense of the term "virtual". Ultimately, this is what composition means.