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      <image:caption>ArtGeneve Booth (2016) Galeria Casado Santapau, Madrid</image:caption>
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      <image:caption>Phantom Studies (2008) MAC Musée d'art contemporain Lyon Exhibition view Salle 3:  Optimize Your Feng-Shui (2008),Security glass, frames of wood, white neontubes Courtesy MAC Lyon (Photo by Blaise Adilon)</image:caption>
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      <image:caption>I'd Rather Go Blind, Than To See You Walk Away From Me, 2015 Light sculpture with neon, 120 parts, 1080 x 820 cm 35.4 x 57 feet</image:caption>
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      <image:caption>Johnny Won't Go To Heaven (2006) Neon (42 parts), mirror glass, beer cans H. 11.15 feet (340 xcm) Big City Lab, 2006, Artforum Berlin</image:caption>
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      <image:title>ARTWORK - GHOST RIDER, 2004, COLLECTION KUNSTRAUM ALEXANDER BÜRKLE, FREIBURG I.BR.</image:title>
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      <image:title>ARTWORK - MAY 11 – JUNE 17 | CONCRETE DRAWINGS</image:title>
      <image:caption>WALDO BALART / LORI HERSBERGER GALERIA CASADO SANTAPAU, MADRID</image:caption>
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      <image:title>ARTWORK - LORI HERSBERGER (L), WALDO BALART (R)</image:title>
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      <image:title>ARTWORK - LORI HERSBERGER | WALDO BALART</image:title>
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      <image:title>ARTWORK - LORI HERSBERGER – EX NIHILO, DEC 16, 2016 – FEB 18, 2017</image:title>
      <image:caption>FROM LEFT TO RIGHT: GHOST RIDER NO.49, 2016, LIGHT WORK (NEON TUBES, DEEP PINK) TRIADE NO.2, 2016, SCULPTURE (GLASS, LIGHT BLUE) INSIDEOUT NO.2, 2016, LIGHT WORK (NEON TUBES, WHITE / SKY BLUE)   [PRESSETEXT v. DEZ. 2016] «Die Elemente Licht und Spiegel stellen grundsätzliche Voraussetzungen für unsere Wahrnehmung dar (...) Die Frage stellt sich, ob wir die Welt überhaupt als solche wahrnehmen können oder ob das nur über den Spiegel, beziehungsweise die Spiegelung möglich ist. Und leben wir dann nach der Täuschung oder nach der Wirklichkeit?» (Lori Hersberger)   In Lori Hersbergers Werken manifestiert sich die Dialektik des Konstruktiv-Sachlichen und des Ästhetisch-Instinktiven als Dialog zwischen einer Phänomenologie der Formen und einer Ontologie des Bewusstseins. Sie kommentieren nicht nur das höhere Kalkül der Intentionalität und der Kontrollabsichten, sondern auch die Romanze zwischen dem Zufall und der Wissenschaft. In Form einer Installation im abgedunkelten Raum zeigt Lori Hersberger in seiner zweiten Einzelausstellung in der Galerie Clemens Gunzer eine Reihe von neuen Werken mit Neon und Glas, die frühere Werkserien weiterführen und Gegenüberstellungen komplementärer Wahrnehmumgsformen und Wirkungen in den Mittelpunkt stellen. Seit Ende der Neunziger Jahre beschäftigt sich Hersberger, der 1964 in Basel geboren wurde und seit 2001 in Zürich lebt, mit Neonlicht, Spiegel und Glas. In dieser Zeit hat der Künstler zahlreiche Installationen in vielen Ausstellungsbeteiligungen gezeigt, wie z.B. in der Kunsthalle Basel, im ZKM Zentrum für Kunst und Medientechnologie Karlsruhe, in der Kunsthalle Wien, im Museum Schloss Belvedere Wien, im SMAK Stedelijk Museum of Contemporary Art Gent, in Harald Szeemanns 48. Biennale von Venedig, im Kunstmuseum St. Gallen, im Kunstmuseum Luzern, in den Sonderausstellungen Art Unlimited an der Art Basel, im Centre d’Art Contemporain Genf, im Museum zu Allerheiligen Schaffhausen, im Cobra Museum Amsterdam, in der Akade-mie der Künste Berlin oder im Museum Schloss Morsbroich Leverkusen, sowie in zahlreichen Einzelausstellungen, u.a. im Kunsthaus Zürich, im Musée d’art contemporain Lyon, im Museum für Gegenwartskunst Basel, im Swiss Institute New York, in der Kunsthalle Giessen, im Badischen Kunstverein Karlsruhe, im Museum Moderner Kunst Kärnten in Klagenfurt und im Helmhaus Zürich. Eine Auswahl von Lori Hersbergers Werken mit Spiegel und Neon sind noch bis zum 3. Oktober 2017 in der Ausstellung «Split - Spiegel. Licht. Refexion.» im Schauwerk Sindelfingen zu sehen, die am 30. Oktober diesen Jahres eröffnet wurde.</image:caption>
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      <image:caption>Totem No.2 (2013) Stainless steel, mirror polished (3 parts) 26.57 x 2.95 x 2.95 feet (810 x 90 x 90 cm) Ghisla Art Collection, Locarno</image:caption>
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      <image:caption>Dystopia Stalker (2013) Paradeplatz Zürich, Gasträume - Kunst auf öffentlichen Plätzen Zürichs, 2013   Dystopia Stalker “What has been begun may be fulfilled. May they believe in it and have a laugh at their passions. For what they call passion is, in truth, not some emotional energy but just the friction between the soul and the outside world,” proclaims the main character in Andrei Tarkowski’s 1979 film Stalker. Lori Hersberger may have envisaged a society set in an indefinite future and characterized by repressive control when he conceived his installation Dystopia Stalker No. 2. Yet, the artist does not want to elicit an unequivocal reading with the title he chose but rather aims at triggering a cascade of associations on the part of the viewer – an objective already evident in former comparable works such as Optimize Your Feng-Shui (2008), Geist (2009), or Dystopia Stalker (2013). With a painter’s vital gesture, Hersberger decided on a screen-like arrangement of the bulletproof glass walls, which may arouse our suppressed latent fascination with the beauty of destruction. The installation’s accessibility turns the viewer into an integral part of the overall tableau, which continuously oscillates between inside and outside, inclusion and exclusion. New things may come about where destruction reigns. „Möge sich erfüllen, was begonnen wurde. Mögen sie daran glauben und ihre Leidenschaften verlachen. Denn das, was sie Leidenschaft nennen, ist in Wahrheit nicht seelische Kraft sondern die Reibung zwischen der Seele und der äußeren Welt“ wird in Andrei Tarkowskis Film „Stalker“von 1979 verkündet. Lori Hersberger könnte bei seiner Installation „Dystopia Stalker No.2“ an eine in unbestimmter Zukunft sich abspielende und durch repressive Kontrolle charakterisierte Gesellschaft gedacht haben. Dennoch möchte der Künstler keine eindeutige Lesart durch den Titel evozieren, sondern vielmehr eine Kaskade von Assoziationen beim Betrachter auslösen, worauf schon frühere, vergleichbare Arbeiten wie „Optimize Your Feng-Shui“ (2008), „Geist“(2009) oder „Dystopia Stalker“ (2013) abzielten. Die paraventartige Anordnung der Panzerglaswände wurde von Hersberger mit der vitalen Geste eines Malers eingeschlagen, was unsere unterdrückte, latente Faszination für die Schönheit der Zerstörung wecken mag. Durch die Begehbarkeit der Installation wird der Betrachter Bestandteil des sich im steten Wechselspiel von Innen und Aussen, Inklusion und Ausgrenzung befindenden Gesamttableaus. Wo Zerstörung ist, entsteht auch Neues. Cathérine Hug Curator, Kunsthaus Zürich          </image:caption>
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      <image:title>ARTWORK - Before Synthmesc (2017)</image:title>
      <image:caption>Collectors Depot, Pörtschach/Klagenfurt</image:caption>
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      <image:caption>Heroic Nihilism (2010) Lori Hersberger – Heroic Nihilism, Halle Salzburg, Galerie Thaddaeus Ropac, Salzburg, 2010 (Photo by Ulrich Gezzy)</image:caption>
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      <image:caption>Phantom Studies 2008 MAC Musée d'art contemporain Lyon View space 2</image:caption>
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