{"id":825,"date":"2015-10-05T02:53:44","date_gmt":"2015-10-05T02:53:44","guid":{"rendered":"http:\/\/franzehmann.com\/?page_id=825"},"modified":"2016-01-17T01:52:06","modified_gmt":"2016-01-17T01:52:06","slug":"maximum-acceleration-2008-12","status":"publish","type":"page","link":"https:\/\/franzehmann.com\/index.php\/photography\/maximum-acceleration-2008-12\/","title":{"rendered":"Maximum acceleration 2008-12"},"content":{"rendered":"

Maximum acceleration.<\/p>\n

Franz Ehmann accelerates the materiality of language its aesthetics and its transformative power into a participation that is more important than just contemporary art. Working with language, video, sculpture and installation his work harnesses simple gestures of the performing body with materials such as milk, honey, vegetables, fauna, flora and newsprint. His video performances are intentionally restricted to the given space in front of a small digital handy cam. \u2018The artist on his way to work\u2019 shows him walking, sitting on the train and begging for money. In \u2018newspaper sculpture\u2019 he is wrapped up in newsprint and rolling away from and then towards the camera. The end of an exhibition is nothing more than an aftermath, and even then the newspaper floor is gathered up into a loose looking sphere. There is no end to the sculptural possibilities, and these sculptural performances at the end of an exhibition already inform their next incarnation. There is no intentional blurring of any boundaries. The zones of reality and fiction are at home in each other\u2019s comfort. The viewer will decide from interpretation and experience. Therein lies the complexities of social sculpture, its interaction and its formations of language sculpture. All thought and speech, displayed as form.<\/p>\n

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