Bildraum Bodensee | Destined to Return | Solo (2022)

Documentation: © Markus Oberndorfer, Bildrecht 2022

‘Markus Oberndorfers multimedia work series REVISIT and his creative explorations are an expression of a complex investigation of our current media landscape and illuminate the massive influence that media, time and its concepts have on us, our lifeworld, its representation and ultimately on our experience and perception.‘ (Ars Electronica)

Collection Sanziany | Palais Rasumofsky Vienna (2020-2022)

Documentation: © Markus Oberndorfer, Bildrecht 2021

Ars Electronica Festival | Linz (2019)

Documentation: © Markus Oberndorfer, Bildrecht 2019

Museumspavillion Mirabell | Salzburg (2018/2019)

Documentation: © Markus Oberndorfer, Bildrecht 2019

Geistwert IP Attorneys | Vienna (2017)

Documentation: © Constantin Kletzer, Gute Macher 2017

Under the umbrella 'Collage In The Age of Automation' — a term I introduced for my project in consideration and continuation of Walter Benjamins 'The Work of Art in the Age of Mechanical Reproduction' —, I showed a juxtaposition of two seemingly identical collages from the REVISITED series. Both however fundamentally differing in their coming into existence: While one was handstitched during endless hours of assembly line like work, the other was created with the help of a script. A juxtaposition posing questions about the 'Work of Art' in an increasingly automated world — cue: Stitching, rendering, machine learning, AI, etc. — in which script based processes 'assist and facilitate'. Questions about authorship, intellectual property,...

Musée des Beaux Arts de Rennes | Travelling (2018)

Centquatre 104 Paris | Circulations (2017)


REVISITED started in late 2015 with a desire to question the medial parameters of 360 degree video, which as a practice began to establish itself more and more at that stage. My aim was to draw attention to the fundamental shifts that took place between 360 degree video and the two main media of our time — photography and film. By creating an interactive media installation, I wanted to allow the audience to experience these differences first hand.

LEFT: The accordion book "Every Building On The Sunset Strip" by Ed Ruscha from 1966.

MIDDLE: The TV-screen in the center shows a realtime frame of the 360° video experience of the Sunset Strip I recorded in 2016, 50 years later. Defined by the spectator wearing the VR-headset who becomes the Director of Photography.

RIGHT: Four 360° VR videos of the Sunset Strip. In contrast to Ruscha’s photo collage, viewers of the video are given the power to choose the cutout that they want to see within the 360 degree environment. They define their own visual frame, but also the 360 cutout on the TV for everyone else.

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