The exhibition 'Aqua Tuning' presents a cartography of the landscape that nevertheless leads to no concrete result. Sebastian Stadler combines image-generating techniques (AI) with traditional photographic methods – such as analog double exposure or C–prints. The works on display play with our relationship to technology and science. Existing systems and future orders oscillate between human authorship and algorithmic dominance.
In his work 'New Archeologies', Sebastian Stadler uses a generative model to create images of measuring charts, color scales, and reference grids: tools used in reproduction photography – or for scientific purposes – to represent something measurable in an image. At first glance, these generated and represented tools appear usable, but in their concrete application, they prove obsolete. They escape any real function, as they do not exist in this form in reality. The AI uses symbols and codes from the corresponding image database and recomposes them. Through the techniques of double exposure and collages on negative and positive film, these become part of photographs taken with the camera. In this context, the instruments reflect not only the rational perception of reality, but also the desire for control, salvation and clarity in a chaotic world. 'The world is number': this idea runs through the project as a fundamental motif and refers to the link between abstraction and deep understanding. Opposite this, we perhaps find the motif of organic nature and the desire for an undefined place of origin.
The frames of 'New Archeologies' are made of welded and polished aluminium parts screwed onto a wooden core. Those of 'System A' are composed of milled acrylic glass, aluminium parts and Aquatuning screws, as used in cooling technology (processors). Both series of frames were developed and produced by the artist.
Aqua Tuning, 2025
Exhibition Views: Heinzer Reszler, Lausanne
Photos: Julien Gremaud, Sebastian Stadler