Jan Herdlicka

Opening 21/03 ab 19 h „COPY AND PASTE“ -Groupshow with Jan Herdlicka @janherdlicka 1. Zentralgestirne (...des letzten Menschen) Pt. II/I, Filmfotografie auf Baryta, 45x30cm, 2025 2. Zentralgestirne (...des letzten Menschen) Pt. II/III, Filmfotografie auf Baryta, 45x30cm, 2025 3. Mondvogel II, modulare glasierte Keramik, 30x20x20cm, 2022 Animationseries2000 Axel Winter Benjamin F. Stumpf/Antje Feger Christian F. Kintz Eiko Borcherding Eliza Lorenz Hank Schmidt in der Beek Hannah Rath Jan Herdlicka Jenny Schäfer Matthias Jun Wilhelm Matthias Meyer Maria Justus Nick Wachs Noeul Kim Tony Franz #lycraraum #janherdlicka

MONDVOGEL II modular glazed ceramic 35x25x25cm 2022

Einen gesegneten 1. Mai allerseits! Zur Feier des Tages gibt es ab heute die "Pathos"-EP von @gusti_gagarin auf allen Streamingplattformen 🤝 (Link in Bio). Sechs geschmeidige Bretter zu einem vorzüglichen Klangwerk zusammengezimmert 👌 Produziert von niemand geringerem als @lan.070 👑 Danke an: @snares98 für's Mix- und Mastering @janherdlicka für das sicke Cover-Artwork 💫 @lophelia_musik für die Hook 🙏 Liebe an alle, die supporten ❤️

SATURATION (XXXII-XXXVII) film-photography editions 05+03AP 2025 For years my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water, the individual pictorial elements seem to absorb each other. I understand saturation in the sense of Jue/Ruiz, as a way of developing sensibility for co-presence, transformations and/or processual shifts that goes far beyond the hydrological origin of the term. Sometimes my works show playfully overlapping inner and outer perceptions. Sometimes these delimit each other in a stormy, almost cannibalistic manner. Sometimes small details only hint at a seemingly unreal view or perspective. Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language. All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen. As an accessory to these developments, it is not only the access to supposed visual realities that becomes blurred, but also the comprehensibility of the photographic techniques used.

I recently wrote an artist statement for Jan – now published on his website. To do so, I took a deep dive into his work and practice, and it was truly a pleasure to engage so closely with his art. I’m proud to see the text live now. You can read it on his website I’m looking forward to doing more of this kind of work. If you need a text, an artist statement, exhibition text, or something similar, feel free to reach out. I’m now offering this as commissioned work. Artworks by @janherdlicka #clara_pistner

SATURATION (XXV-XXXI) film-photography editions 05+03AP 2025 For years my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water the individual pictorial elements seem to absorb each other. I understand saturation in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence, transformations and/or processual shifts that goes far beyond the hydrological origin of the term. Sometimes my works show playfully overlapping inner and outer perceptions. Sometimes these delimit each other in a stormy, almost cannibalistic manner. Sometimes small details only hint at a seemingly unreal view or perspective. Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language. All these visible forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen. #zrfdbck #thezonezine

JAN HERDLICKA 1987, Germany @janherdlicka In a dreamlike way my work focusses the ever evolving interrelations of human and nonhuman agencies from personal to planetary scales. My influences range from scifi to ecology, utopian and dystopian conceptions such as terraforming, technosphere or the myths of preastronautics, to the arts and literature of dark romanticism and magical realism. Within these thematic fields my artistic approaches are decisively cross-medial and include various filmphotographic techniques amongst other artistic fields.

1000 thx for the amazing intergalactic hustle and flying Mondvogel 🧨🚀🔮👻💚🛸💚👻🔮🚀🧨 KAUGUMMI IM MOTHERBOARD II curated by @quelish assisted by @marlene_post 06.12.2024 - 10.01.2025 @erratum_gallery @gr_und In an era defined by relentless technological acceleration, Kaugummi im Motherboard delves into the psyche of a generation shaped by hyper-connectivity, Youtube-DIY ingenuity, as well as the systemic collapse. The title itself offers a poignant metaphor: the humble act of fixing a complex machine with chewing gum—a naïve yet earnest gesture of repair. This symbolic effort highlights both the vulnerability and resilience of human creativity when confronting overwhelming challenges. Choosing the motherboard as a central metaphor elevates this act into a meditation on care and origins: the computer’s core as a maternal figure, nurturing and foundational, yet fragile and requiring our stewardship. The artists in this exhibition respond to the fragmentation of contemporary life through glitched aesthetics, speculative environments, and a fusion of nostalgia with invention. Their works are not utopias in the traditional sense but rather layered fantasies: expressions of escape, critique, and the search for alternative modes of being. Employing digital fantasies, modified robotics, and underground culture, these creators reveal the contradictions of life post-internet, oscillating between exuberant experimentation and a critical reckoning with a capitalist system that often feels inescapable. This dynamic results in works that refuse binaries—retreat versus resistance, destruction versus creation —embracing instead the chaotic beauty of their in-between spaces. In doing so, Kaugummi im Motherboard captures the ethos of a generation that is both burdened by systemic failures and energized by the potential of speculative futures.

SATURATION (XVIII-XXIV) film-photography editions 05+03AP 2024 For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water, the individual pictorial elements seem to absorb each other. I understand saturation, in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence, transformations and/or processual shifts that goes far beyond the hydrological origin of the term. Sometimes my works show playfully overlapping inner and outer perceptions. Sometimes these delimit each other in a stormy, almost cannibalistic manner. Sometimes small details only hint at a seemingly unreal view or perspective. Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language. All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen. As an accessory to these developments, it is not only the access to supposed visual realities that becomes blurred, but also the comprehensibility of the photographic techniques used. #zrfdbck #thezonezine

SATURATION (VIII-XVII) film-photography editions 05+03AP 2024 For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water, the individual pictorial elements seem to absorb each other. I understand saturation, in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence, transformations and/or processual shifts that goes far beyond the hydrological origin of the term. Sometimes my works show playfully overlapping inner and outer perceptions. Sometimes these delimit each other in a stormy, almost cannibalistic manner. Sometimes small details only hint at a seemingly unreal view or perspective. Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language. All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen. As an accessory to these developments, it is not only the access to supposed visual realities that becomes blurred, but also the comprehensibility of the photographic techniques used.