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Solo show: Manfred Mohr -parallelResonance (over)

23 March 2011 until 21 April 2011
  Manfred Mohr -parallelResonance
Manfred Mohr, parallelResonance, 2011, room installation at [DAM]Cologne
 
www.dam.org DAM GALLERY Frankfurt

[DAM] Frankfurt
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60329 Frankfurt/Main
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Preview: Sat, 19th March, 3 - 5 pm
The artist will be present at the preview.

Exhibition: 23rd March - 21st April 2011

The exhibition will be shown at [DAM]Berlin afterwards in the course of the Gallery Weekend.

ParallelResonance is the latest series of Manfred Mohr and the software pieces are exhibited for the first time internationally at Gallery [DAM]Cologne. parallelResonance is the 4th cycle of artwork, which Manfred Mohr produced as a software artwork, beside a series of pictures. In the series Mohr is exploring in his characteristically straight forward forms and colours the tension fields between the shifting black and white lines and plaines. The changing colours of the background range in pastel-coloured shades. Beside the software pieces the exhibition also features large-scale and small prints from the series.
Manfred Mohr's artworks are based on custom-authored algorithms. Mohr belongs internationally to the most successful artists in the field of software art. Since 1973 he is exploring the logical and mathematical structure of cubes or hypercubes as well as their lines, planes and their relationships. Mohr co-founded the "Art et Informatique" seminar in 1969 at Vincenne University in Paris, and his first major solo museum exhibition 'Une esthétique programmée' took place in 1971 at the Musée d'Art Moderne de la Ville de Paris. That exhibition has become known historically as the first solo show in a museum of works entirely calculated and drawn by a computer.

'The main elements of the algorithm are two randomly selected and superimposed 11-dimensional diagonal-paths (see: emohr.com, workphases "Dimensions" 1978, "Laserglyphs" 1991 and "Klangfarben" 2007). Both diagonal-paths have a very thick line width (line expansion) with their edges running parallel on both sides of the original diagonal-path. The top line expansion is always WHITE describing a white form. The bottom line expansion is BLACK and describes a black form. Both forms are projected on a colored background. In calculated intervals, the black form interchanges with the colored background so that the background becomes black and the previously black form assumes a color. These exchanges create continuously new visual relations in form and tension fields. The clearly visible thin black/white lines in the image show the original diagonal-paths.'
Manfred Mohr, 2011

Some of the collections in which he is represented: Centre Pompidou, Paris; Mary and Leigh Block Museum of Art, Chicago; Victoria and Albert Museum, London; Ludwig Museum, Cologne; Wilhelm-Hack-Museum, Ludwigshafen; Staatsgalerie Stuttgart, Stuttgart; Stedelijk Museum, Amsterdam; Museum im Kulturspeicher, Würzburg; Kunsthalle Bremen, Bremen; Musée d'Art Moderne et Contemporain, Strasbourg; Daimler Contemporary, Berlin; Musée d'Art Contemporain, Montreal; McCrory Collection, New York; Esther Grether Collection, Basel.
He took part in numerous solo and group shows i.e. at the MoMA - Museum of Modern Art, New York; Centre Pompidou, Paris; ZKM (Center for Art and Media), Karlsruhe; Museum Ritter, Waldenbuch; Museo Nacional Centro de Reina Sofia, Madrid; MoCA, Los Angeles; National Museum of Modern Art, Tokyo; Museum of Modern Art, San Francisco; MoMA-PS1, New York; ARC - Musée d'Art Moderne de la ville de Paris, Paris; Museum for Concrete Art, Ingolstadt; Vasarely Museum, Budapest.

Among the awards he received are: Golden Nica from Ars Electronica, Linz; Camille Graesser-Preis, Zürich; [ddaa] d.velop Digital Art Award, Berlin; Artist Fellowship, New York Foundation of the Arts.

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