Carsten Becker
Texts
Texts about the conceptual artwork by German artist Carsten Becker who lives and works in Berlin, Germany.
Texts
Harald Theiss, Carsten Becker, 2021
Gespräch mit dem Kurator Harald Theiss über die Serien RAL und DIN im Rahmen der Ausstellungen Edition #5 und Epilogue bei Haunt Berlin.
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Philipp Hindahl, 2020
Carsten Becker verdichtet die Aspekte von Normierung für seine Serie DIN, in der sich funktionale und ästhetische Belange treffen. Vor allem treffen hier aber zwei Normen aufeinander: Becker lackiert DIN-Objekte in RAL-Farben und fotografiert sie.
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Harald Theiss, 2020
Carsten Becker's sober variants of still life motifs are reduced developing a speculative narrative over the dull surface of the familiar objects, its materiality, affiliations and the artistic medium itself. His combinations of DIN standards with RAL colours become thinking tasks.
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Patrick Alt, 2019
Is it possible to cope with loss or to process specific repressed memories by reviving repressed color worlds, the lost worlds of images? Carsten Becker‘s works are about the „absence“ of something, about voids.
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Philipp Hindahl, 2019
For his series Agfacolor, Carsten Becker focuses on moments that make it impossible for photographs to disguise their voice. The artist presents image sections from color photos he discovered in archives, taken by soldiers of German propaganda troops.
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Philipp Hindahl, 2018
Utility objects do not come by their colors randomly, they are chosen according to standards. In Germany, the RAL standard sets the norm, a collection of colors that meets the requirements of public authorities, the military and industry. In his work, artist Carsten Becker is concerned with the gaps and continuities in this collection.
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Tamara Branovic, 2017
Carsten Becker’s historically- and philosophically-guided works investigate established systems and codes, utilising and deciphering them, before ultimately questioning what is left of them.
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Tamara Branovic, 2017
The concept of transparency opens up possibilities for unlimited observation, thus enabling oversight, surveillance and control. But what if this ability to control leads to excessive optimisation, addictive behaviour and power play?
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Christoph Bieber, Telepolis,1999
Der Absolvent der Kölner Medienhochschule arbeitet mit seinem ehrgeizigen Projekt Kontrollorgan an der Spiegelung des individuellen Datenschattens, der durch die immer größer werdende Zahl elektronisch beobachtbarer Vorgänge entsteht.
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