MAstars 2010: Sascha Mikloweit, MA Fine Art
Sascha Mikloweit, SECOND AS…//13February 2009 07:57- 08:33 (1-27) //07 October 2008 10:54 -11:12 //19 November 2008 16:13 -16:47 //24 November 2008 17:53 //06 February 2009 17:00, 2010. 80/35mm projection slides [5.3min], Kodak S-AV 2050, plasterboard, plaster, bible paper, white paint. 310cm x 350cm x 636cm. Credit: Sascha Mikloweit
Gill Hedley selects Sascha Mikloweit from Central Saint Martins for MAstars
'SECOND AS…' (2010) was a site specific installation by Sascha Mikloweit for the 2010 MA at Central St Martin's.
'THIRD AS…' (2010) was installed in the Charing Cross window of CSM during the MA show.
'FOURTH AS…' (2010) is an edition of two thousand unsigned 'to cut out' images inside the 2010 CSM MA Fine Art Degree Show catalogue.
The constituent parts of 'SECOND AS…' were a slide projector on a plinth; a series of images; a group of four large sheets of paper, loosely pinned to the wall suggesting fragility.
Production values were flawless and curious. A label informed the viewer that there were 27 images. The carousel was clearly full (80 slides) so a loop was created with beautiful and detailed images punctuated by blanks of yellow filter. The plinth was sanded, skimmed with plaster and left unfinished. Each email was scanned and enlarged, blanked to conceal the identity or occupation of the protagonists.
The images in each slide were forensically delineated in exquisite and ultimately unrevealing detail. Views of a damaged briefcase alternated with a nature morte of papers. A briefcase as subject will usually elicit the same reaction in a city dweller in 2010 as it moves from familiarity to a site of potential danger: 'Please do not leave bags unattended or they will be destroyed'. The spread of papers included a programme for 'English People Very Nice' at the National Theatre and a Prudential retirement plan leaflet. Is this a careful and cultured person? But the flyer was obviously slipped into the theatre programme. Do the London A-Z and throat tablets simply add to the generic picture? Are we interested in whose briefcase and papers these might be or rather why/how they were damaged?
Each text was a giclée print on bible paper and the text enlarged (or blown up). Each email was carefully dated, anonymous, possibly between affectionate friends, and to quote the artist's website: 'It is not about being told. Rather this is about what may be'.
'FOURTH AS...' is an image of the case stuffed with its papers and apparently in a moment of destruction. The format and use of black and white was deliberately historicised and the text line reveals data relating to the detonation.
The window installation 'THIRD AS…' was coloured with orange fluorescent paint, illuminated with fluorescent light, which permeated the public space outside at night. At its heart was the image in the catalogue, printed on backlit film and free floating. A text, also the extended title, comes from a seminal work on colour chemistry referring to detection and identification of biological substances.
Each work hints at counter-terrorism, exudes an elegance of approach, and hovers between the public and the private in a very controlled manner. Site specificity is particularly effective. The fluorescence refers to safety measures and shop windows; the use of the old-fashioned carousel with its particular sounds and educative function added a non-specific back story or mood.
To quote the artist again: 'all necessary information is included'.
Selected by Gill Hedley
Published October, 2010