12-Channel-Move-Sculpture, 63:41 min, 2,042 × 4,084 × 4,084 m, 2011/16

“In no way is artistic research a self-referential, self-enclosed, art-for-art’s-sake principle. As Frank Geßner’s exhibition PANORAMAVISION shows, artistic research is an art-immanent aspect of artistic thinking and artistic practice. It does not illustrate or describe any existing picture or likeness; rather, it grasps the world we live in in its heterogeneity and takes that as the starting point for developing ideas, for example of a VISION of what our ‘today’ can be tomorrow. I speak quite consciously of ‘us’, because it is no coincidence that, in conceiving his PALLADIO MODEL (PROTOTYP DD) of the cinematographic 12-channel installation that we see as the central motif in the exhibition, Frank Geßner refers to Le Corbusier’s ‘Modulor’. The ‘Modulor’ is the very emblem of a modern view (which has been around since the Renaissance) that all construction that all construction, all architecture should relate to the human scale, human proportions, and human perspectives. No ‘far out’, crazy theory, therefore: this approach claims that I, you, and we are responsible designers of every new step, of every architecture that will surround us tomorrow. The many personal as well as historical references in the exhibition describe or symbolize the complex system of references that constitutes our identity. For we are not only now, we are also a part of yesterday, we are today and tomorrow – and: it is US who are shaping that very process!”

Quote from: Altmann, Fee, “Introduction”, p. 10, in: PANORAMAVISION*EARTH SEEN FROM THE STUDIO*FRANK GESSNER, (German and English), Revolver Publishing Berlin, 2018.

“ALIAS YEDERBECK REDUX: PALLADIO MODEL (PROTOTYPE DD), 12-Channel-Move-Sculpture, 63:41 min, 2,042 × 4,084 m, 2011/16. From the animated movement in space, the exhibition continues to a reflection of space in which images appear digitally. PALLADIO MODEL (PROTOTYP DD) is a twelve-sided space built for the exhibition without the projected dome. The model breaks up the rigid statics associated with Le Corbusier’s ‘Modulor’ by recalling Palladio’s architecture. In the PALLADIO MODEL, the images are no longer projected onto the walls, but onto screens. The 252 pictures have the title TESTE SANS FIN, in memory of Paul Valéry’s text: ‘There is no certain picture of Monsieur Teste. All his portraits differ from each other.’”

Quote from: Winter, Stefan, “The Poetry of Syntax: Frank Geßner‘s Reflection on Audiovisual Media”, p. 340, in: PANORAMAVISION*EARTH SEEN FROM THE STUDIO*FRANK GESSNER, (German and English), Revolver Publishing Berlin, 2018.