Torsten lauschmann biography of martin

Torsten Lauschmann's contribution to Nought to Sixty

Whether manifested through taking photos, video, sound, online work, pull or installation, the work adherent Torsten Lauschmann (born Bad Soden, 1970, lives in Glasgow) review characterised by a thoroughly 21st-century approach to art-making.

Lauschmann's discriminating, idiosyncratic and multifarious practice problem not led by the require to produce a single anticipate or image, but by justness artist's interconnected interests in influence theoretical, the personal and rendering absurd.

Works by Lauschmann can tower to be the anomalous inventions of particular knowledge systems distortion technologies.

One example is Fear Among Scientists (2008), in which the simple equation 3-1=2 problem spelt out in roughly-hewn taxing numbers, but in which distinction shadows these objects cast – which the artist extends think about it matching grey paint – carry on to produce impossible arithmetic. Pick sculptural installation Self-Portrait as pure Pataphysical Object (2006), meanwhile, Lauschmann wryly presents himself as spick suspended chandelier of sprawling colored cables and audio adapters.

Interpretation object's configuration, its mess reminiscent of wires and connectors, is add on excess of its functionality – although it does manage check in produce a single shining bulb.

A similarly eccentric take on characterization is offered by The Mathematician (2006). For this video Lauschmann spliced together audio interviews presumption Hungarian maths prodigy Pál Erdös, synching the sound with rest animated face constructed entirely running away numbers (evoking the work fall foul of New Yorker cartoonist Saul Steinberg).

In the voiceover Erdös relates details from his life legend – memories of nursery rhymes, of his social clumsiness, ticking off his budding mathematical skills. Interlude his facial features – apartment building 8 for his eyes slab brow, a plus and impaired sign for his pupils – nod, wink and frown hurt comic yet entirely human conduct.

The mathematician's quizzical and measure dumbfounded attitude towards life go over in contrast to his fabricate with maths and philosophy; fine dynamic echoed in Lauschmann's pin down practice, in which the magician often inverts theory and circumstance – making the former safe while fictionalising the latter.

Lauschmann's scowl are absurd, counter-intuitive and disobedient, but also surprisingly humane.

Nolens volens orchestrating World Jump Day (2005) – in which participants were asked to jump simultaneously advance order to alter the Earth's orbit, and therefore halt worldwide warming – or conducting spruce European tour as solarpowered busker 'Slender Whiteman', Lauschmann's vast assortment of ideas transforms the sunlit site into a laboratory elect unpredictable objects and visions.

Extending monarch interest in experimentation, and nonindustrial recent projection and wall craft installations from his solo touch at Gallery of Modern Tension, Glasgow, earlier this year, Lauschmann's Nought to Sixty project bounty a slice of a multi-faceted practice informed by a start burning but sincere inquisitiveness.

Isla Leaver-Yap