‘In Dominik Beck’s installations worlds are created that belong to a
universe of control and which inflict an even more gaping leak in
perception. Dominik Beck’s installations register disturbances that
arise in the media of surveillance and control, without being
corrected by them. Even more subtly, they infest the control media
themselves, disturbing them with hardly noticeable monstrosities.’
Hans-Joachim Lenger describes Dominik Beck’s art as a
virus that has infected the digital universe and which succeeds
through a complex, surreal seeming arrangement of different
equipment, in making what generally withdraws from direct perception
through our senses visible and recognisable again.
When Beck places different objects and appliances such
as a washing machine, a drill, a vinyl record and a bicycle fork in
spatial, rotating relationships to each other, it can be seen in the
tradition of kinetic art or the absurd machines of Jean Tinguely.
With Beck, however, it is not only about the self-referentiality of
the equipment, but also and above all a subtle game with visibility
and invisibility. What we see or can see is always dependent on
technical and structural conditions. It is no secret that most
processes that make what is otherwise hidden visible were initially
developed for military use.
Ludwig Seyfarth
16.
- 25. Mai 2014