Oliver laric biography

Innsbruck (Austria), 1981

Oliver Laric premeditated at the Universität für angewandte Kunst Wien, where he tumble fellow artists Aleksandra Domanović, Christoph Priglinger and Georg Schnitzer. Assortment, they created VVORK in 2006. An influential contemporary art personal blog, VVORK became popular for notice photos and videos of artworks with minimum descriptions, when blogging was mostly based on passage and media-rich social networks were just being developed.

Active unsettled 2012, the site regularly featured visual documentation of artworks enjoin exhibitions that reflected the group’s vision of the contemporary transmit world, and also suggested say publicly idea of establishing connections in the middle of artworks rather than considering nobleness work of an artist picture isolated output of a celibate creator.

VVORK also generated dialogue around the similarities in nearly contemporary artworks exhibited in make-believe galleries, as well as glory increasingly common experience of eyesight art online rather than proffer site.

Other influential aspect of the finish with, as noted by Michael Connor, is that it contradicted justness widespread idea of net break away being restricted to art coined solely for a web application (Connor, 2015). It introduced trim wider notion of online focus on, which was based on influence appropriation and re-use of nifty variety of media, expanding outwith the screen and into authority gallery space as installations gift sculptures, as well as digital prints.

This became a process feature of post-internet art.

Between 2006 and 2009, Laric explored exotic forms of appropriation and remix, creating compositions of user-generated capacity and stock images, as security 787 Cliparts (2006), a fast-paced animation depicting human figures discharge different actions arranged as top-hole choreography; 50 50 (2007 abstruse 2008), a compilation of YouTube clips in which fans sum hip hop musician 50 askew perform three of his songs; and Touch My Body (Green Screen Version) (2008), an mow comprising a modified music recording by Mariah Carey in which everything other than the singer’s body is masked in undiluted Chroma Key green screen, notwithstanding others to create new versions of the video.

In these artworks, Laric shows his weary in questioning authorship and honourableness uniqueness of the artwork be oblivious to using found material and creating different versions of the sign up idea (as in 50 50), which ultimately lead to account the artwork as a context with variable outcomes.

The themes appear in Laric’s work over these years coalesce in Versions (2009-2012), a series of videos pry open which the artist elaborates precise statement or lecture on say publicly overarching presence of doubles, copies, remixes and variations of justness same content in all aspects of our visual culture, foreign the doctored image of nifty missile test issued by integrity government of Iran in 2008 to reused scenes in Walt Disney’s animation films, memes, lecturer deep fakes.

True to illustriousness nature of this work, Laric subsequently created new versions, steadily which he introduced the topic of iconoclasm and pointed reveal to how it actually generates new images: inspired by say publicly desecration of religious sculptures crate the 15th and 16th centuries, he created new versions most recent vandalized statues by sculpting expert 3D model with which recognized cast a series of ployurethan pieces.

The pieces were attach a label to in layers, using different pigments and powdered materials on violation layer, and presented as followers in which their uniqueness champion multiplicity are patent. Icon (Utrecht) and Icon (Worcester), both give birth to 2009, are initial examples marvel at this technique, that Laric has also applied to later artworks, such as Relief (Utrecht) (2010-2011), Sun Tzu Janus (2012) unanswered Hunter and Dog (2015).

Diadem interest extended to other authentic periods and regions of sculptured production, as well as rendering art academy’s traditional practice waning copying Greek and Roman skilfulness, as exemplified in Kopienkritik (2011).

The ability to generate perfect digital copies of physical sculptures tube objects using a 3D detector inspired Laric in the get up of a series of plant in which he either facilitates their open and endless printing, or he creates pieces desert question both the authenticity instruct materiality of the sculpture.

Discolored to this period are class projects Lincoln 3D Scans (2013), a website offering freely downloadable 3D scans of objects let alone the Usher Gallery and Birth Collection in Lincoln, and Three D Scans (2015), a solicitation of scanned artworks from distinct museums in Europe, also candidly available and without copyright tram.

In this phase of Laric’s work, the variations in skin of a series of ployurethan copies give way to solitary sculptures made of fragments magnitude in different materials or drink different pigments and powdered assets on each layer. The secondary pieces are both unique viewpoint apparently a mashup of unlike variations of the same sculp, as in Sleeping Boy (2016) or Reclining Pan (2019).

Family tree this recent work, he has also deviated from making copies of existing sculptures to construct new pieces based on halfbreed creatures, such as Hundemensch (2018).

Oliver Laric has exhibited his lessons extensively in museums and galleries worldwide. Recent solo shows incorporate exhibitions at the Saint Prizefighter Art Museum, Missouri (2019); S.M.A.K, the Municipal Museum of Coeval Art Ghent, Belgium (2021); Kunstverein Braunschweig, Germany (2018); Metro Big screen Gallery, New York (2018); become calm Tanya Leighton, Berlin (2018).

Pander to important shows include Photoplastik (2016) at Secession, Vienna; Oliver Laric: Versions at the MIT Give out Visual Arts Center in Metropolis, Massachusetts (2013); and Triennial: Ring Audience at New York’s Recent Museum in 2015.

He currently lives and works in Berlin.