Constanin Luser: Augenfahrt, 2006
geboren 1976 in Graz, Österreich, lebt und arbeitet in Wien und Graz. Luser studierte Industrial Design an der FH Joanneum in Graz, konzeptuelle Kunst bei Renée Green an der Akademie der Bildenden Künste in Wien und visuelle Medien bei Brigitte Kowanz an der Universität für Angewandte Kunst in Wien. Einzel- und Gruppenausstellungen führten ihn u.a. nach Graz, Wien, Basel, Zürich, Berlin, Salzburg und Moskau. 2005 erhielt er den Kunstpreis der Diözese Graz-Seckau. Im KULTUM wurde Luser in der Ausstellung „CONTROLLING #1: Augenfahrt“ (2006) gezeigt.
born in Graz in 1976; lives and works in Graz and Vienna. Luser studied Industrial Design at the FH Joanneum - University of Applied Sciences, Graz, Concept Art in Renée Green’s class at the Academy of Fine Arts Vienna, and Visual Media in Brigitte Kowanz’s class at the University of Applied Arts Vienna. He visited i.a. Graz, Vienna, Basel, Zürich, Berlin, Salzburg, and Moscow for solo and group exhibitions. He received the Art Award of the Diocese of Graz-Seckau in 2005. He lives and works in Vienna and Graz Luser’s works were shown in the KULTUM in the exhibition “CONTROLLING #1: Augenfahrt“ (2006).
Constanin Luser: Augenfahrt (Eye Run), 2006
Constantin Luser sets a universe of his own topographical structures against an (art) world dominated by technology and computers. Even though he has borrowed the external appearance of his graphic thought protocols from computer graphics, they nevertheless do not work like controllable data storage devices. Luser rather pursues a form of subjective mind mapping where knowledge is not conserved like in electronic storage devices but spaces for thought are opened up. In the exhibition on the occasion of the Visual Art Award of the Diocese of Graz-Seckau 2006, he did not only draw them but actually built them. One seems to provide space for the desire to withdraw into a dream world in the form of a space capsule-like bunk with a delicate chaise longue, the other one— conceived as a darkened cave—offers very subjective visual experiences as the sketched lines on the walls are only revealed within a cone of light that cannot be controlled. Whether it is computer-generated quivering seismographic lines or just a different kind of information output—Luser’s meshes of lines tempt us to embark on a sensual “journey of the eyes” with always new interlinking drawings and graphics which emerge due to the blurriness of multiple tracks put on top of each other or emerging out of the dark into the light provided by a headlight. A journey into the unknown that banks on the concupiscentia oculorum and invites us to make new seeing experiences beyond the interface between digital and analog.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 868-871.