2000 Frankfurter Kunstverein EXHIBITION
In this way, he creates graphics, layout and merchandising for companies that do not even exist or whose existence in the art context appears as a fictitious corporate strategy. The smooth aesthetics of his designs are measured against the standards of modern advertising strategies and product marketing. It approaches the expectations towards contemporary product aesthetics in order to ultimately undermine these expectations subversively in its affirmation.
For although Pflumm's works behave ambivalently towards the elegance of modern commodity aesthetics and do not conceal a fascination for product design, common expectations run into the void in view of the uniform appearance of his products. Pflumm's light boxes quote product logos without actually imitating them, for the companies' names are missing. His video loops sample commercials, which they abstract into stereotypical product presentations.
Other video works produced on the computer combine images and sequences found on the internet with fragments from TV commercials and self-shot film material. Assembled into minimalist loops, the result is a repetitive flow of images that compiles elementary motifs of the globalised circulation of goods.
His works are constantly being created anew, reconstructed and recontextualised. Each exhibition remains unique as a result. At the Frankfurter Kunstverein, Prini places objects from the late 1960s next to works that he conceived specifically for the spatial situation on site. In this way, the context within which art is created does not become a historicising framework, but a reference that situates itself in the now. Prini's “standards” know a solution in which all possibilities are contained. They know combinations, but no variation. The result is unique: not mathematical but logical–ultralogical.
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