Grafting / or Lermontov, Dansant Come Saint Sebastien, 2014 | Courtesy of the artist; Galerie Neu, Berlin
Through her work, Anne Collier engages the complexities of representation in a sustained exploration of the relationship between photographic objects and images. Often it features casually arranged, but meticulously detailed pictures of mass market and popular culture projects, posters, books, LP albums, and magazine covers that date predominantly from the 1970s to the early ‘80s. Collier’s focus on this ‘near past’ carefully circumnavigates themes of self-representation, portraiture, and biography, while addressing the inescapable, but unreliable nature of photography itself. There are no eye teasers, at least not in the cheap sense that the images clamor to get your attention. There is more of a sense of control maintained and a distance kept. Still, the feeling remains that there is more to the images than meet the eyes.
(Excerpt from Jan Verwoert, “So How Come You Want to Know? – On the Works of Anne Collier, in: “Anne Collier,” publ. by Presentation House Gallery in conjunction with the exhibition “Anne Collier,” January 26 to March 2, 2008.)
In Victor Man’s self-contained paintings, which appear as metonymies of embodied meaning, there is no ostentatious first-order visuality over second-order textuality. Sometimes, there is a circular movement of what is readable and what is visible, and a mutual deconstruction of the limits of both – as in a “third-order metapicture.” Man’s often-enigmatic works could be considered, to a certain extent, to qualify more as “infrapictures” than as “metapictures.” As such, they seem like the pictorial equivalents to the “micrograms,” that were written almost a century ago by Robert Walser in such tiny handwriting as if they belonged to a private secret code, apparently indecipherable. The mysterious darkness, which adds to Man’s singular visual “voice,” alternates with a certain phosphorescent or at least translucent, ethereal atmosphere.
(Excerpt from Laura Pavel, “On Diving into Artistic Potentiality – the Infra-gaze of Interpretation,” in: “Metacritic Journal for Comparative Studies and Theory,” Vol. 1, Oct. 2015.)