42

Alles kann durch Zahlen wiedergegeben werden. Zahlen erklären und lassen  begreifen; von der Schuhgrösse bis zur Entstehung des Universums. Nach dem Sinn des Lebens befragt, berechnet der Supercomputer “Deep Thougt” in Douglas Adams “Per Anhalter durch die Galaxis” 1 Millionen Jahre lang die Antwort. Sie lautet: 42.

So absurd diese Aussage anmuten mag, es gibt Zusammenhänge, die sich den menschlichen Geiste verschliessen, und um deren Entschluesselung man sich eines perfekt-abstrakten Systems bedienen darf, das aber gleichzeitig eine Entfernung von den eigentlichen Aspekten der Dinge mit sich bringt; Häuser,  Strassen, Menschen werden zu Nummern, und Zahlen haben immer recht.

Die ordnende Welt der Zahlen fällt in der Installation 42 aus dem System, egal ob Dual- oder das gebräuchliche Dezimalsystem. Mit der visuellen Subversion wird ein neues Beziehungsgeflecht eröffnet. Das Diktum der Zahlen wird unterlaufen, ironisch konterkariert oder auch einfach nur humorvoll in „Bild und Rahmen“ gesetzt. Oder eben außerhalb. So gilt es, die Rahmenbedingungen stets neu zu betrachten. Das an sich so logisch vermessene Feld verunsichert, die Emotion beansprucht ihren Platz.

 

Next year my shoe size and age will be the same. Both numbers are converging like an asymptote. While one number stagnated at some point, indicating the end of physical growth, the other number recovered from the accelerated speed that pushed on infancy and youth. Since then, other numbers have counted, e.g. the number of semesters, years of professional practice, children, income, vacation days, etc.
Once you have immersed yourself into this trivial type of Kabbala, you begin to think that you have found a universal formula. According to Heidegger, modern thinking is arithmetic thinking, one that can produce logical concepts by which the goals expressed by this logic can be achieved. Such an aim confirms the calculation and thus confirms the underlying logic which this thinking is directed to. In retrospect, any such thinking can be considered as correct, yet this accuracy is unable to say anything about other modes of thinking and can only account for itself. It is this kind of self-certainty that meets one in Vanja Vukovic’s photographs of series 42, in which the framing construction of a deliberately narrowed sample of the world doubles the arithmetic act as if the view through the camera was not already a poetic reduction and an optical compression of incalculable, infinite possibilities.
Moreover, and thus emphasising the arbitrary self-limitation of the fraction of world which is depicted, Vukovic adds a second framing which widens or restricts the photography. It is a focus guiding the glance to that which counts. In the words of Derrida, the imposed framing does not only defer the signified from the original picture to the area defined by the second framing. The frames that partially protrude beyond the original picture, thus emphasising the space void of information beyond the actual image, involve an expanded system of pictorial conceptualisation. The exterior becomes part of the information of the interior which the perceiver, at the same time, is or becomes part of.

M.Ulrich