My artistic practice is predominantly research-based and takes the form of sculpture and video installations as well as of image and text-based works. I am concerned with the narratives through which history is constructed and imparted in public space, museums and media.
Rather than to develop self-contained finalized ‘works’, I would like to initiate continuous processes, that take effect in a multitude of contexts. The practice of exhibiting is therefore not an end in itself, but should rather be understood as processual, generating provisional arrangements, that can be reflected and added on to, sparking dialogue with and among the audience.
In my long-term research project on catastrophe modelling, I am investigating how historical as well as future catastrophic events are visualized and imparted, commemorated and predicted using different types of models. This includes physical miniature models and simulations as well as digital visualizations and animations. Results have been shown in a solo exhibition in Tokyo (‘Modeling Catastrophe – A Test Arrangement’, Studio 1-8-5, 2013) and in group exhibitions (e.g. at ‘Distant Observations. Fukushima in Berlin’, Kunstraum Kreuzberg/Bethanien, 2015).
Florian Goldmann is a visual artist and researcher based in Berlin, Germany. He studied sculpture and media art in Edinburgh, Athens and Berlin, graduating in 2012 with the publication of ‘Flexible Signposts to Coded Territories’, in which the graffiti of football fans in Athens is analyzed for its potential function as a system of fluid signage.
From 2014 to 2018 he was a fellow at the research training centre ‘Visibility and Visualisation – Hybrid Forms of Pictorial Knowledge’ as well as the Brandenburg Centre for Media Studies at Potsdam University with a project on the utilization of models as means of representing, commemorating and predicting catastrophic events.
With the collective STRATAGRIDS contributions to publications and exhibitions were developed (e.g. in the context of House of the Cultures of the World Berlin’s Anthropocene Project (2014) or at ‘How the Bauhaus Came to Weimar. An Archive of Heat and Cold‘, at the Thuringian State Archaeological Museum, Weimar (2018).
Recent individual exhibition contributions:
‘Architectural Ethnography: Portraits on Livelihood’, Japan Pavilion at the 16th Venice Architecture Biennale, Giardini della Biennale, la Biennale di Venezia, Venice, Italy.
‘Standardized Waters’, Seccma Trust, Athens, Greece.
‘Wayfarer’, Korean Cultural Foundation, Berlin, Germany.
‘Micro City Lab’, Indie Art Hall Gong, Seoul, South Korea.
‘Deep Inside’, 5th Moscow International Biennale for Young Art, Trekhgornaya Manufaktura, Moscow, Russia.
‘Collapse’, Hapjeongjigu, Seoul, South Korea.
‘CHEZ EUX: Unseen Collections’, Circuits and Currents, Athens, Greece.
‘Trembling Spaces’, Projektraum Römerstrasse, Akademie Schloss Solitude, Stuttgart, Germany.
‘The Greece of Asia’, Space Gachang, Daegu, South Korea.
‘Width Gap Infinitude’ (with STRATAGRIDS), Minibar, Stockholm, Sweden.
‘Modeling Catastrophe – a test arrangement’, Studio 1 – 8 – 5, Shinagawa-Ku, Tokyo, Japan.