Vinzenz Aubry - Nach Bild. Under Stimulation

DE

*After the Image* is a call to action. *After the Image* is a manifesto. *After the Image* asks about what comes next—a world in which images have abandoned us.

Vinzenz Aubry questions our image-driven society, in which the visual has created a distance from the world that divides us more than it unites us. Aubry explores and invites us to look beyond the image and our visually shaped perception. The exhibition stages the times “After the Image”—times in which the interpretive authority of images collapses and the artwork and the viewer form an interwoven system.

This first solo exhibition opens up participatory spaces of experience in which the audience itself simultaneously serves as both camera and screen. The works lead us to the thresholds of perception and should be understood as an invitation into spaces where the aesthetic experience emerges only through the interaction between the artwork and the audience.

The expansive interactive installations emit infrasound frequencies, causing our bodies to vibrate and our retinas to flash. Aubry playfully challenges our role as visitors: to experience the works, we must offer ourselves as projection surfaces. According to *Bild, Under Stimulation*, the exhibition consists of “open works” that find a fleeting completion when visitors become part of them.

EN

“Nach Bild” is a call to action. “Nach Bild” is a manifesto. “Nach Bild” asks about the aftermath—a world in which images have abandoned us.

Vinzenz Aubry questions our image-driven society, in which the visual has created a distance from the world that separates us more than it connects us. Aubry explores and invites us to look beyond the image and our visually dominated perception. The exhibition stages the times “after the image”—times in which the interpretive authority of images collapses and the work and the viewer form an interwoven system.

This first solo exhibition opens up participatory spaces of experience in which the audience itself serves simultaneously as both camera and screen. The works lead us to the thresholds of perception and are to be understood as an invitation into spaces where the aesthetic experience arises solely through the interaction between the artwork and the audience.

The expansive interactive installations emit infrasound frequencies, causing our bodies to vibrate and our retinas to flash. Aubry playfully challenges our role as visitors: in order to experience the works, we must offer ourselves as a projection surface. *After Image, Under Stimulation* consists of “open works” that find fleeting completion when visitors become part of them.