Note: If you see this text you use a browser which does not support usual Web-standards. Therefore the design of Media Art Net will not display correctly. Contents are nevertheless provided. For greatest possible comfort and full functionality you should use one of the recommended browsers.
 
Viktoria Binschtok «Schienen/Railroadtracks»
Viktoria Binschtok, «Schienen/Railroadtracks»
2002 | Photography | © Viktoria Binschtok
Open as full size image
6 c-prints, 40x50cm, 21 c-prints, 15x21cm


 
Viktoria Binschtok «Schienen/Railroadtracks»Viktoria Binschtok «Schienen/Railroadtracks»Viktoria Binschtok «Schienen/Railroadtracks»
photo series
 

 Viktoria Binschtok
«Schienen/Railroadtracks»

Like in «Globes,» the work entitled «Schienen» (Railroad Tracks) also deals with photographs of objects from private origins, hidden in the Internet behind a specific term. In the case of the term «Schienen,» this concerns the individual parts found under the heading Model Trains, and the huge amount of relevant digital-image data retrieved in the Worldwide Web – probably because of the popularity of the model trains hobby – is vastly represented.
When carefully viewing this wealth of railroad-track imagery, one realizes that those who post these images are confronted with an essential decision: to place the images in chaos or with a certain sense of order in our field of vision.
The chaos principle can be understood as an arbitrary ordering, comparable to what invariably happens when you empty a box of model trains on the floor. The chaos would be different time after time, but the appearance of a disordered mix-up remains unchanged.
Deciding to have the individual pieces comply with a sense of order is linked with a creative act on the author’s part. But the criteria for the railroad-track pattern would remain unknown.
The photographs chosen by the artist show abstract and arbitrarily-generated formations of the described images. Since the images finally hang decontextualized on the wall, the uninformed viewer can barely assign them to a genre. And for being abstractions, even the railroad tracks – though familiar objects to us – are barely recognizable. Only the title offers an indication of what we see.