‘In Dominik Beck’s installations worlds are created that belong to a
universe of control and which inflict an even more gaping leak in
perception. Dominik Beck’s installations register disturbances that
arise in the media of surveillance and control, without being
corrected by them. Even more subtly, they infest the control media
themselves, disturbing them with hardly noticeable monstrosities.’
Hans-Joachim Lenger describes Dominik Beck’s art as a virus that has infected the digital universe and which succeeds through a complex, surreal seeming arrangement of different equipment, in making what generally withdraws from direct perception through our senses visible and recognisable again.
When Beck places different objects and appliances such as a washing machine, a drill, a vinyl record and a bicycle fork in spatial, rotating relationships to each other, it can be seen in the tradition of kinetic art or the absurd machines of Jean Tinguely. With Beck, however, it is not only about the self-referentiality of the equipment, but also and above all a subtle game with visibility and invisibility. What we see or can see is always dependent on technical and structural conditions. It is no secret that most processes that make what is otherwise hidden visible were initially developed for military use.
- 25. Mai 2014