*1981 in Innsbruck, AT, lives and works in Berlin
In his work, Oliver Laric adapts enduring questions about reproducibility, authenticity, and authorship to the 21st century, while focusing on production and distribution mechanisms in the digital age. For quite a number of years, he has been working on a public archive of 3D-scans of objects from collections for free download (threedscans.com), in addition to developing sculptures using 3D-printing methods. The two sculptures are based on Max Klinger’s Beethoven (1902) and John Gibson’s Sleeping Shepherd Boy (1843): visible seams and the use of different materials point to their composition of several parts. Laric’s Beethoven (2016) is made of white plastic elements; from a distance vaguely reminiscent of the marble of ancient statues, it belies the low weight of the hollow form. Since a 3D-scan was not approved by the museum, the sculpture was created using photographic data, reminiscent of the developmental history of 3D-technology that Laric acknowledges with Resemblance by Contract (2016). Among the renderings of sculptures from Parisian museums are full-body portraits from different life stages of François Willème (1830–1905), as well as autostereograms, which can be perceived as three-dimensional images.