Daniel Laufer’s art is a confluence of text-based works, drawings, video and performance. In making a film, for example, the artist places paintings on glass in front of the camera in order to transport the characters into a liminal space. His narrations challenge the conventional authorial voice, and time shifts and repetitions play on the trickiness of individual perception and memory. To complicate things even more, Laufer’s video art is often accompanied by a live performance, sometimes carried out by the artist himself. He won the 2010 Boskamp Foundation prize.
Jugert’s analogue photographs expose the interplay of form and content. In her conceptual photos, the young German artist explores the relationship between coded visual information and the production of knowledge. The pictured setups are models built in her studio for the sole purpose of being captured by the camera. The works’ titles are often directive puns that urge the viewer to become aware of their position as a recipient with a subjective point of view. The photographs thus function like a reflective screen for the viewer, whose interpretation completes the picture.
With site-specific installations, collages and audio-based works, Fleury irritates the viewer’s tactile capacities and, accordingly, their expectations. A door too narrow to pass through, a well-known pop song with altered lyrics and a 2 euro coin that’s been badly reproduced are just a few examples of the artist’s re-rendering of everyday phenomena. Fleury seems to enjoy destroying things and putting in a lot of effort while doing so (drilling countless holes into a heavy steel rod, for example), but this doesn’t lead to a feeling of aggression; rather, it brings out the fragility in everything, be it material or immaterial.