The artwork Homunkulus explores the subjective feeling of the distance between an artistic representation and its related
Explanatory text have become an integral part of artistic and curatorial practice and therefore inevitably interconnected
with any artwork. The ongoing paradigm of conceptual necessity in artistic practice often leads to the creation of theoretical
constructs which serve as justifi cation-suffixes charged with trending buzzwords like Postcolonialism, Capitalism or Feminism.
This method commonly leads to a gap between the phenomenological representation of an artwork, between the signifier and the
Homunkulus is an installation that tries to overcome this subjective disconnection between theoretical content and the “retinal”
The subconcept within the installation can be seen as the conceptual counterpart of André Bretons objet trouvé. A reversal
in the creative process where the object is crafted and the conceptual background gets attached later during the various stages
of production. Unlike the
“conceptual readymade” the concept trouvé always possesses a personal component of the artist who customizes and thoughtfully
adjusts it to his discrete artistic expression. Like at a french flea market this concept trouvé is found amongst a pile of
other second-hand concepts which likewise signify towards a vague, mysterious, unknown and “merveileuse”/miraculous biography.
These traits want to be revealed and explored and offer an infi nite amount of theoretical depth. When the so offered depth
exceeds the threshold of ones subjectively perceived representational value of the artwork it will presumably evoke a feeling
Homunkulus is addressing this very feeling of pretentiousness and is an attempt to overcome the gap between the object and
the theoretical subject.