Where does SERIAL come from?
A graffiti is an example of a form of encoding information. Originally, graffitis were an encoded way of marking territories in an urban area. The design of theses tags soon developed a momentum. This way it was possible to guarantee a high degree of recognizability in the tangle of symbols and signs. Legibility becomes subordinate; writing becomes a symbol. The interlocking of the foreground and background as well as the complexity of the image gain more and more importance.
SERIAL as a test arrangement
The art work challenges the relationship between original and series considering the perspective of an individual. The individual perspective is meant to become a part of the series.SERIAL uses serial methods as a tool.
The local reference of the graffiti is being replaced by a global access. The cultural, local and national boundaries vanish. Gaining new space through the digital network leads to an expanding radius of action. SERIAL encodes, unlike grafittis as art works, through interlocking different self-sufficient steps and shifts in reality of the process.
SERIAL fills new spaces
The art work SERIAL has been created three-dimensionally in virtual space. The forms of its accessibility are virtual and real. It can be displayed not only in reality (in the museum) but also virtually (in the world wide web).
The graffiti as a carrier of information in the urban area is being transferred into a new media. The screen as a real object substitutes the original image carrier (concrete, public transportation etc.). At the same time, the screen can be understood as a window –a passage into the global network. Within this space the graffiti SERIAL is constantly being reproduced and even re-invented by the participants. The participants´ photographs of the screen within its actual environment are in turn presented in a changed context on the screen in the museum and in the world wide web.
SERIAL in series
The original image file “SERIAL” interacts with the constantly changing visible individual private spaces, i.e. the particular surroundings of the computer screen displaying the photographs. The series emerges from the stress field of the participants, the public and private, virtual and real environment.
All of the pictures, that are uploaded by the participants, will be equipped with a serial number and will therefore become part of the artistic process and the art work itself. This way the original SERIAL reproduces self-sufficiently.