Boaz Yosef Friedman
Positional Problems
11.2018

In my recent exhibition, Positional Problems, I have had the opportunity to present a varying body of work. The works may be placed in different and overlapping thematic circles. In works such as Toaster, Cloud(s) and Gates of Hell, I examined the relationship between sculptural space and humoristic representation; what I call Comic Minimalism.
Another way to form these thoughts would be: Where does daily banality meet grinding formalism?
By also presenting large scale sculptures in passport-photo format (Positional Problems), a varying graphic of ambiguous volumes (81 Variationen einer Form), and a one-to-one draft of an oversized stencil (Entwurf einer Schablone) I wanted to address aspects of presence and absence in sculpture. What makes an object real?

Reflecting on the general communication and discrepancy between my works, I came to realize that there was an underlying problem about the artistic position *:
How wide can an artistic position be?
Can you work without a hierarchy of importance?
Can every work be a position in itself?

*I think of the term artistic position asthe acceptance of historical and contextual responsibility.

Cloud(s)
Pigmentdruck

Toaster
HDF

Feierabend
Pigmentdruck

POSITIONAL PROBLEMS
Pappe, Fotos, Reproduktionen

(ohne Titel)
Pigmentdrucke, HDF

81 Variationen einer Form
Laserdruck auf DIN A4

(ohne Titel)
Marker und Bleistift auf Papier

gates of hell
Pigmentdruck

making a corner I&II
Sprühfarbe auf Wand

Entwurf einer Schablone
Pigmentdruck, Holz, Schnur




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