study for large painting

signed in the right corne on the front

10kg, Ed. Texte zur Kunst Ed. 100 + 20

cibachroom photograph on dibond with plexiglas

Exhibited in a series of forty-eight, each identically formatted image bears a striking similarity to the others while revealing the differences particular to each one. By presenting the lobbies of apartments visible behind glass entrances, variations in décor, lighting, colour and ‘personality’ emerge from banal mid-century architecture, becoming metaphorical of human beings’ simultaneous unity and individuality, while the large windows, for Gergley, ‘offer a complete exchange of visual information from the subject’s illuminated room into the camera’s “darkened room”’. Gergley’s work centers around the role of the photographer in relation to various methods ranging from the classical still-life to the snap shot, and this series is at once an application of typological photography and a refinement of the analytical device of framing found in such work. It is also reminiscent of filmic framing devices, giving the work a Hitchcockian appeal, which is reflected in the film-strip style of installation in the gallery. As Gergley says: ‘It is the camera’s inherent “framing” requirement that has become the analytical tool that assists in recovering knowledge from the subject’. Throughout the history of photography and indeed the natural sciences, typology has been used to clarify thinking. From the oceanic and plant studies of Ernst Haeckel and Karl Blossfeldt through to photographer August Sander and the work of pioneering conceptual photographers Berndt and Hilla Becher, classification of forms has been used to define how relationships work and has been instrumental in documenting the oneness of the world in its most diversified forms.

Instalacion de muro compuesto por varias piezas de madera laqueadas

Work on paper by the Royal Art Lodge; signed by all members of the collective on back, which at this time consisted of Marcel Dzama, Neil Farber, Drue Langlois, Myles Langlois, Hollie Dzama and Michael Dumontier

Florian Weiss, „Fish“

This painting was exhibited in 2008 at Anna Kustera for the group show "The World's Smallest Art Fair." (More at: http://www.annakustera.com/2008/07/the_worlds_smallest_art_fair_i.html)

Exhibited at Galerie Neu, Klara Lidén, Occupied, 2011

Produced in an edition of 100, each bucket of water consists of the bucket, the remnants from the elaborate plumbing system and the videotape.