Fake Exhibitions Posters.
Felix Humm is exhibiting at Mirad’Or in Pisogne, an art gallery on Lake Iseo.
The Mirad’Or rises from the water like a small pavilion, a pile-dwelling immersed in the lake, embracing the remains of the medieval harbour that later became a public washhouse and
only recently, an exhibition space.
This is why Felix Humm has hung his posters as if they were sheets hanging out to dry.
The exhibition was curated by Gigi Barcella, supported by Mayor Federico Laini
and councillor Giovanni Bettoni.
With the ’Fake Exhibitions Posters’ Felix Humm starts a game. He feels that the time has come to enhance all the rest of his visual production such as photographs, photocopies, scans, polaroids and all the printing techniques mixed with ink, charcoal, plaster, the sculptures, reliefs, oil paintings, drawings. He understands that his way, as a graphic designer, to keep them alive is to subsume them into his own work as a graphic designer, to bring them into the context of his professionalism.
He fixes them in the form of the poster. To thus restore their rightful dignity, he invents fictitious exhibition occasions and conceives posters for hypothetical exhibitions. To each type of artistic intervention he associates an appropriate venue, and sets a date moved so far into the future as to make the game explicit. After all, it is of our time to pay spasmodic attention to gadgets rather than to the events to which they are linked, and the idea of an exhibition of posters of exhibitions...never made!
Felix Humm is exhibiting at Mirad’Or in Pisogne, an art gallery on Lake Iseo.
The Mirad’Or rises from the water like a small pavilion, a pile-dwelling immersed in the lake, embracing the remains of the medieval harbour that later became a public washhouse and
only recently, an exhibition space.
This is why Felix Humm has hung his posters as if they were sheets hanging out to dry.
The exhibition was curated by Gigi Barcella, supported by Mayor Federico Laini
and councillor Giovanni Bettoni.
With the ’Fake Exhibitions Posters’ Felix Humm starts a game. He feels that the time has come to enhance all the rest of his visual production such as photographs, photocopies, scans, polaroids and all the printing techniques mixed with ink, charcoal, plaster, the sculptures, reliefs, oil paintings, drawings. He understands that his way, as a graphic designer, to keep them alive is to subsume them into his own work as a graphic designer, to bring them into the context of his professionalism.
He fixes them in the form of the poster. To thus restore their rightful dignity, he invents fictitious exhibition occasions and conceives posters for hypothetical exhibitions. To each type of artistic intervention he associates an appropriate venue, and sets a date moved so far into the future as to make the game explicit. After all, it is of our time to pay spasmodic attention to gadgets rather than to the events to which they are linked, and the idea of an exhibition of posters of exhibitions...never made!
The original works exist, they inspired the posters, but what Felix Humm is proposing with this project is precisely the display of 36 posters that testify to the existence of works of art that are virtually there.
A game of cross-references, an oscillation between reality and virtuality in which what remains tangible and central is the graphic conception of the posters, a research that continues to be part of his ropes and that accommodates within itself an immense artistic production present in absence.
Cecilia Liveriero Lavelli
Art historian.
A game of cross-references, an oscillation between reality and virtuality in which what remains tangible and central is the graphic conception of the posters, a research that continues to be part of his ropes and that accommodates within itself an immense artistic production present in absence.
Cecilia Liveriero Lavelli
Art historian.