Julian Palacz_HWCar21


Julian Palacz

Soft Opening
Freitag, 7. Mai 2021 | 14-19 Uhr

Kuratiert von zweintopf

Ausstellung: 8. Mai to 5. Juni 2021

Fr, 07.05. – Sa, 05.06., Di-Fr 14 – 19 Uhr, Sa 11 – 16 Uhr
Di-Fr 14-19 Uhr / Sa 11-16 Uhr
Stadtpark 1, 8010 Graz


Julian Palacz, der sich in seiner künstlerischen Praxis vornehmlich mit der Macht und Mechanik von Überwachung auseinandersetzt, ändert für »HANDLE WITH CARE« im Forum Stadtpark seine Prämisse.
Statt Überwachung aufzuzeigen, wird er selbst zu jener Instanz, die ungefragt aufzeichnet und dokumentiert, indem er mit Kameras und Mikrofonen präparierte Sendungen verschickt. Das Ergebnis ist ein wertfreier Blick hinter die Kulissen des Versandsystems. Nur auf den ersten Blick zeigen die imposanten Bilder eine rhythmische Choreografie; bei näherer Betrachtung aber offenbart sich ein Regime strenger Effizienz, in dem kaum noch Menschen Platz haben.

Julian Palacz’s artistic practice is primarily focused on the power and mechanics of surveillance. »HANDLE WITH CARE« at Forum Stadtpark changes this premise.  Instead of exposing surveillance he becomes the subject that secretly records and documents by mailing parcels equipped with cameras and microphones. The result is a neutral look behind the scenes of the shipping system. Only at first glance do the striking images reveal a rhythmic choreography. A closer look however reveals a regime of strict efficiency in which there is hardly any human labour.

Kuratiert von zweintopf

Julian Palacz *1983 in Leoben, studierte Digitale Kunst bei Peter Weibel und Virgil Widrich. In seinen Arbeiten widmet er sich einer poetischen Aufbereitung von Daten, die im Hintergrund unseres digitalen Alltags automatisch gesammelt und dabei nur selten unverschlüsselt sichtbar werden. Er lebt und arbeitet in Wien.

Opening: 7.5.2021 · 14 pm
Forum Stadtpark
Stadtpark 1, Graz, AT



Konrad Prissnitz

Of Julian Palacz and Visual Hacking

Palacz’s aesthetics are always decent and elegant. His works are withdrawn and moreover somewhat sullen; one could almost assume that they are ashamed of the beauty of their existence, whereby they are only part of their origins. Even worse, they reveal themselves as a recycled product of only a part of a product, but have nothing to do with environmental protection. Palacz’s visualised precision mirrors the irony of their concepts, he does this quite automatically, if not fully automated.

Flows inspire Palacz. Almost always quiet ones, but definitely not just a flow of data, and never easy or trendy ones. It can also be flows of behaviour. How do people use a striking area to light matches with on a picture plane that he has pre-prepared?
How does a painter strike a match over Palacz’s model before he lights a cigarette or his oven. And what is achieved by these strikes? Maybe it is the attraction of the coincidental that Palacz knows how to provide. He doesn’t influence its course, but rather allows himself to be curious about the results of the coincidence he has predetermined. Palacz’s test assemblies could also have been constructed from a technical viewpoint, which is the reason behind their legitimacy, as well as the strength of his work.

Published in nevertheless — www.nevertheless.at

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