Gregor Zivic

• 29.11.2002–18.01.2003

Ever since Gregor Zivic abandoned painting almost five years ago to take a new approach to his work, the idea of making a film has been at the center of his deliberations. Gregor Zivic’s second show at the Galerie Martin Janda is now exhibiting the step he has taken from painting to the yet imaginary film — a passage Zivic develops in the medium of photography.

If photography was initially the means used to present issues of painting in a more open context, in the most recent pieces of Zivic’s first large thematic series (gas stations, forest, Smarties) the significance of the medium photography has undergone a change and taken a more central position in the realization of his work.

In his new series, first exhibited at this show, classical patterns of composition are cunningly undermined and biographical references, as well as issues addressed by painting and their presentation are pushed into the background.

Gregor Zivic has built a monumental structure for his show in the gallery space which forms the framework for his new series of 54 photographic pieces. One imagines oneself in a web of film sequences, experiences a parallel course of dismantling and compression. The sequence of the images brings with it the expectation of a narration, but on closer examination the fragmentary character of the story becomes recognizable.