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In his installation for Kunstverein Dresden, Tobias Izsó (1997, Vienna) creates a sculptural environment that oscillates between material contradiction and social construction. Assamblages and objects are displayed throughout the exhibition space as if they had slipped out of someone's diary – enigmatic items of personal inventory, some deeply private, others very public. They complement each other, contradict each other, mirror each other, and mock each other, but they always form a visual, narrative, and contextual network of relationships that have yet to be discovered by the viewer. With their silent presence, the sculptures seem to act as witnesses to the events of Herman Melville's short story Bartleby, the Scrivener (1853) – an atmosphere in which we feel someone's presence even though we are not communicating with them directly, as if Bartleby was around every corner of his office. This ambivalent situation can be summed up in the narrator…
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Press Release
In his installation for Kunstverein Dresden, Tobias Izsó (1997, Vienna) creates a sculptural environment that oscillates between material contradiction and social construction. Assamblages and objects are displayed throughout the exhibition space as if they had slipped out of someone's diary – enigmatic items of personal inventory, some deeply private, others very public. They complement each other, contradict each other, mirror each other, and mock each other, but they always form a visual, narrative, and contextual network of relationships that have yet to be discovered by the viewer. With their silent presence, the sculptures seem to act as witnesses to the events of Herman Melville's short story Bartleby, the Scrivener (1853) – an atmosphere in which we feel someone's presence even though we are not communicating with them directly, as if Bartleby was around every corner of his office. This ambivalent situation can be summed up in the narrator…
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