The Austrian artist Heinrich Dunst creates spatial interventions and performances that navigate the gap between what can be seen and what can be said, the untranslatability of one form into another, and the contextual nature of spatial presentations.
For his show at the Secession, Dunst develops a new installation. Its organizing principle is a wall cutting diagonally across the gallery on which hypertext is inscribed. Various media fragments—letters cut from pink foam material, monochrome pictures, defamiliarized everyday objects, an Ottoman miniature painting, and photocopies revolving around the theme of the hand—are the elements from which he constructs a non-hierarchical visual field. A central motif in his art is the deictic act and the question it raises of the interface between embodiment and representation.