Im Rahmen des Projekts „Broken relations - Infrastruktur und Unterbrechung“
(nur für Studierende)
In my early teens, I learned about grafting from my father, who cultivated pear and apple trees as a hobby. In this horticultural process, small branches of young specimens are spliced with twigs from a different variety. The splice, if done successfully, grows together, and the trunk and the branches growing from the twig enhance each other in their respective qualities. Although this is not its primary intention, grafting allows for potentially cultivating trees that carry two or more varieties of fruit, ripening at different times.
Martin Beck is a New York- and Vienna-based artist whose works often draw from the fields of architecture, design, and popular culture. A leitmotif in Beck’s practice is the notion of display: his works often address issues of exhibiting, presentation, and communication formats and, on a material level, negotiate display’s function as a condition of image-making. His solo exhibitions include I wish it would never get dark at 47 Canal, NY (2018–19); dans un second temps at Frac Lorraine in Metz, France (2018); rumors and murmurs at Museum Moderner Kunst Stiftung Ludwig Vienna; Last Night at The Kitchen in New York; (both 2017); and Program at the Carpenter Center for the Visual Arts at Harvard University, Cambridge (2014–16). Beck’s publications include About the Relative Size of Things in the Universe (2007), The Aspen Complex (2012), Last Night (2013 and 2019), the particular way in which a thing exists and Summer Winter East West (both 2015), An Organized Systems of Instructions, and rumors and murmurs (both 2017). In 2020, in collaboration with Julie Ault and Scott Cameron Weaver, Beck published the curatorial project Down the Rabbit Hole, accessible at www.o-townhouse.art.