Widerspru?chliche Bewegungsreize picks up where the author’s previous book, Universen (Edition Patrick Frey, 2011), left off and gives visible, palpable form to their artistic work over the past ten years, transporting the reader once again into a teeming pictorial cosmos. In contrast to Universen, however, this artist’s book features huber. huber’s photographs rather than collages and ink drawings. Presented in two-page spreads, the pictorial compositions form ascending and descending series of various lengths in which other images using other techniques are embedded. The upshot is a dazzling tapestry of images, producing a sort of visual dissonance which, in extreme cases, is liable to cause the same symptoms as motion sickness. Brief texts (translated into a total of seven different languages), ranging from succinct descriptions to associative sensory impressions, provide clues to some of the compositions and sequencing whilst also serving as agreeable interludes. A remarkably comprehensive index of nouns (e. g. “apple”, “petri dish”, “salt lake”) and adjectives (e. g. “moist”, “geometric”, “eerie”) helps to render the artists’ enigmatic visual cosmos readable. This new artist’s book goes far beyond the mere reproduction of photographs and once again masterfully reflects huber. huber’s artistic practices in the special medium of the book. – Mirjam Fischer
Widerspru?chliche Bewegungsreize picks up where the author’s previous book, Universen (Edition Patrick Frey, 2011), left off and gives visible, palpable form to their artistic work over the past ten years, transporting the reader once again into a teeming pictorial cosmos. In contrast to Universen, however, this artist’s book features huber. huber’s photographs rather than collages and ink drawings. Presented in two-page spreads, the pictorial compositions form ascending and descending series of various lengths in which other images using other techniques are embedded. The upshot is a dazzling tapestry of images, producing a sort of visual dissonance which, in extreme cases, is liable to cause the same symptoms as motion sickness. Brief texts (translated into a total of seven different languages), ranging from succinct descriptions to associative sensory impressions, provide clues to some of the compositions and sequencing whilst also serving as agreeable interludes. A remarkably comprehensive index of nouns (e. g. “apple”, “petri dish”, “salt lake”) and adjectives (e. g. “moist”, “geometric”, “eerie”) helps to render the artists’ enigmatic visual cosmos readable. This new artist’s book goes far beyond the mere reproduction of photographs and once again masterfully reflects huber. huber’s artistic practices in the special medium of the book. – Mirjam Fischer
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