Mladen Bizumic: Ela Nord

Mladen Bizumic & Ela Nord

ALBUM (Security Glass Scan Fragment), 2020

Black portrait canvas with blue and fine red stripes, a print on canvas by photographer Mladen Bizumic — Mladen Bizumic
ALBUM (Ikea Mirror Scan), 2017
Inkjet print on canvas, Guggenheim frame
204 cm x 124 cm
Courtesy of the artist and Georg Kargl Fine Arts, Vienna

close up of an irregular-angular brooch with a silver frame and canvas in colourful fine stripes, it looks like a framed picture — close up Mladen Bizumic, ALBUM (Security Glass Scan Fragment), silver brooch, canvas, limited edition

The canvas sections provided by Mladen Bizumic are samples of his large-format photo prints, which depict reflections of scanned mirror pieces as a prismatic color gradient. Ela Nord placed the result of this play of light and backlight in a matt silver frame so that the resulting brooches look like abstract paintings.

Brooches
”ALBUM (Security Glass Scan Fragment)”
Archival Inkjet Print on Canvas, silver 925, 2020
Edition: each pieces is unique, 14 + 6 AP

Irregular angular brooch with a silver frame and canvas in colourful fine stripes, it looks like a framed picture — Mladen Bizumic, ALBUM (Security Glass Scan Fragment), silver brooch, canvas, limited edition

Back of an irregular angular brooch with a silver frame and canvas in colourful fine stripes, it looks like a framed picture — Mladen Bizumic, ALBUM (Security Glass Scan Fragment), silver brooch, canvas, limited edition

Artist Robert Jelinek wears two brooches on the lapel of the black jacket and sunglasses, his hair is strictly combed back, he asks for something — Artist Robert Jelinek with brooches from the collaboration with artist Mladen Bizumic

Artist Robert Jelinek wears two brooches on the lapel of the black jacket and sunglasses, his hair is strictly combed back — Artist Robert Jelinek with brooches from the collaboration with artist Mladen Bizumic

ALBUM (Ikea Mirror Scan), 2017

ALBUM (Security Glass Scan) was made by scanning broken, light-reflecting pieces of mirror, which Bizumic moved during the scanning process. The resulting structures provide insights into the processes of digital image production, which they visualize, while at the same time exposing the limits of this technology through the obvious fractures and breaks. As in many of his works, the artist succeeds in his ALBUM series in using now-obsolete techniques of image production – in this case not analog photography but a ten-year-old, slightly damaged flatbed scanner – and the specific handling of the material to address the subject of impermanence and the decreasing cultural significance of imaging media. With his works he simultaneously lends the seemingly obsolete medialities a new aesthetic presence.
(Excerpt from an essay by Stephanie Damianitsch)

www.mladenbizumic.net

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