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This exhibition occurred in the past. The archival exhibition summary below describes the exhibition as it was conceived while on view.

Berlin-based artist Oliver Laric works at the intersection between art and technology. His multifaceted approach responds to the internet as a mass media with deep and wide cultural reach, exploring how images have been created, shared, and repeated, both in our time and across history. In Currents 116: Oliver Laric, the artist presents a new sculpture and a recent video work that draw inspiration from and engage with the Museum’s own collection.

Laric identifies historical sculptures with rich histories and replicates them using 3-D technology. For Currents 116, Laric has created a sculpture from a 3-D scan of Reclining Pan, a 16th-century sculpture on view in Gallery 236. By replicating works, Laric destabilizes our ideas of past and present, original and copy, and authentic and inauthentic. He makes these 3-D scan files public and downloadable online, complicating the question of who owns an image and which version of an image is correct.

The exhibition also includes the artist’s 2018 video work Betweenness, which includes images of anime characters, mushrooms, multiplying cells, and footage from the CT scan of the Museum’s mummy, Amen-Nestawy-Nakht. These images are animated from a single black line against a white background, which continually morphs between forms. The morphing line draws attention to moments in time that would be otherwise imperceptible. An earlier video work by Laric will be on view concurrently as part of the Museum’s New Media Series in Gallery 301.

The Museum’s Currents series is dedicated to the ongoing presentation of new works of contemporary art by living artists.  Currents 116: Oliver Laric is curated by Hannah Klemm, assistant curator of modern and contemporary art, with Molly Moog, research assistant.

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Reclining Pan

Oliver Laric’s 3-D scan files of Reclining Pan and other works from the Museum’s collection are fair use and downloadable online.

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