Although ‘Meta-’ is used as an international pre!x, and ‘Icon’ is a common expres-
sion for ‘image’ or ‘picture’, it is important to clarify the title and de!ne ‘Meta-Ikon’.
‘Meta’ as well as ‘Ikon’ come from ancient Greek and implicate several meanings.
In the context of this exhibition ‘Meta’ could best be translated as ‘a#er’, ‘about’, or
‘beyond’. As such, ‘Meta-Ikon’ signi!es ‘a#er an image‘, ‘about an image’, or ‘beyond
an image’. Simply said; this is not only a photograph created a#er an image, or the
re-working of an image, or something which leads beyond an image, but a photo-
graph which unites all of these qualities.
'e group-exhibition »Meta-Ikon« mainly presents photography as the domi-
nant medium for recording and generating images, and as the contemporary appro-
priation of the historically acknowledged cannon of images. Accordingly, the show
is an arrangement of new statements that are not documenting reality, but refer to
existing images of Western Culture found in painting, photography, sculpture and
!lm. Using di"erent strategies the artists transform the collective images/icons of
our cultural memory into new works of art.
'e sources remain present within the selected works – it may be a direct
recognition of the original motif, or something more elusive that resonates with
collective memory and is informed by the speci!c aesthetics of the viewer. Never-
theless, the creation of unexpected hybrids such as ‘familiarly uncanny’ or ‘disor-
dered cognition’, allows these works to exist in their own right (and not simply as
copies). 'e speci!c ‘access’ that each participating artist has to their chosen subject
implants a new and lingering strangeness to the visual cannon of our familiar cul-
ture. 'e exhibition visualizes how di"erences in content, concept and technique
characterize the speci!c ‘access’ of the participating artists. Each ‘access’ results in
its own unique ‘Meta-Ikon’.