Frederick Kolouch (°1988, Denver, United States) makes films, drawings, performances and media art. In a search for new methods to ‘read the city’, Kolouch often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His films are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By experimenting with aleatoric processes, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By putting the viewer on the wrong track, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of film: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. With a subtle minimalistic approach, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.
His works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. By questioning the concept of movement, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By investigating language on a meta-level, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By demonstrating the omnipresent lingering of a ‘corporate world’, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By exploring the concept of landscape in a nostalgic way, he tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By creating situations and breaking the passivity of the spectator, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. Frederick Kolouch currently lives and works in San Francisco.
Wooster Goobs #he Exhibitions, Further Complicates The Reception Of Their Manifold Layers Of Meaning. By Emphasising Aesthetics, He Seduces The Viewer Into A World Of Ongoing Equilibrium And The Interval That Articulates The Stream Of Daily Events. Moments Are Depicted That Only Exist To Punctuate The Human Drama In Order To Clarify Our Existence And To Find Poetic Meaning In Everyday Life.
His Works Are Saturated With Obviousness, Mental Inertia, Clichés And Bad Jokes. They Question The Coerciveness That Is Derived From The More Profound Meaning And The Superficial Aesthetic Appearance Of An Image. By Parodying Mass Media By Exaggerating Certain Formal Aspects Inherent To Our Contemporary Society, He Tries To Create Works In Which The Actual Event Still Has To Take Place Or Just Has Ended: Moments Evocative Of Atmosphere And Suspense That Are Not Part Of A Narrative Thread. The Drama Unfolds Elsewhere While The Build-up Of Tension Is Frozen To Become The Memory Of An Event That Will Never Take Place.
His Works Are Given Improper Functions: Significations Are Inversed And Form And Content Merge. Shapes Are Dissociated From Their Original Meaning, By Which The System In Which They Normally Function Is Exposed. Initially Unambiguous Meanings Are Shattered And Disseminate Endlessly. Goobs Wooster Currently Lives And Works In Solvang.## %# Rosado Mike