Austria, 1981


Oliver Laric converts qualities of the digital age, such as reproduction, limitless variability, and instant distribution, into the physical realm. His 3D scanned sculptures challenge our understanding of art and conventional modes of arts institutionalization, including the complex legal ambiguities of copyright and its rights. His effort to make art that is traditionally locked in a museum, accessible to an increasingly digital society, regardless of social, geographical, or cultural boundaries, on the one hand, challenges traditional modes of art institutionalism, while on the other, democratizes art by stripping it of constrains to private ownership. The anthropomorphic nature characteristic of Laric’s work is then suggestive of a broader interest in the hybridization of matter and life, as depicted within the present digital age.