Marit Neeb

Amor Omnia describes a series of wall-mounted works consisting of two variable groups of corresponding text and image objects. Using common TV guide texts and images, plots and film stills about couples as source material, their selection reveals a blend of textual and graphic representations of stereotypical emotional patterns, norms and taboos.
Unlike the clear and fixed text objects, the image objects are based on a pegboard system. A box filled with dowels is placed in the center of the exhibition, and visitors are encouraged to rearrange and modify the image objects. Thus the images become disassociated from their original narratives over the course of the exhibition, gaining new ones instead.
The work examines the perception of correlating linguistic and graphic spaces, placing special emphasis on the viewer’s physical and temporal relationship to an ensemble of objects.

Amor Omnia describes a series of wall-mounted works consisting of two variable groups of corresponding text and image objects. Using common TV guide texts and images, plots and film stills about couples as source material, their selection reveals a blend of textual and graphic representations of stereotypical emotional patterns, norms and taboos.
Unlike the clear and fixed text objects, the image objects are based on a pegboard system. A box filled with dowels is placed in the center of the exhibition, and visitors are encouraged to rearrange and modify the image objects. Thus the images become disassociated from their original narratives over the course of the exhibition, gaining new ones instead.
The work examines the perception of correlating linguistic and graphic spaces, placing special emphasis on the viewer’s physical and temporal relationship to an ensemble of objects.

Amor Omnia describes a series of wall-mounted works consisting of two variable groups of corresponding text and image objects. Using common TV guide texts and images, plots and film stills about couples as source material, their selection reveals a blend of textual and graphic representations of stereotypical emotional patterns, norms and taboos.
Unlike the clear and fixed text objects, the image objects are based on a pegboard system. A box filled with dowels is placed in the center of the exhibition, and visitors are encouraged to rearrange and modify the image objects. Thus the images become disassociated from their original narratives over the course of the exhibition, gaining new ones instead.
The work examines the perception of correlating linguistic and graphic spaces, placing special emphasis on the viewer’s physical and temporal relationship to an ensemble of objects.

Amor Omnia describes a series of wall-mounted works consisting of two variable groups of corresponding text and image objects. Using common TV guide texts and images, plots and film stills about couples as source material, their selection reveals a blend of textual and graphic representations of stereotypical emotional patterns, norms and taboos.
Unlike the clear and fixed text objects, the image objects are based on a pegboard system. A box filled with dowels is placed in the center of the exhibition, and visitors are encouraged to rearrange and modify the image objects. Thus the images become disassociated from their original narratives over the course of the exhibition, gaining new ones instead.
The work examines the perception of correlating linguistic and graphic spaces, placing special emphasis on the viewer’s physical and temporal relationship to an ensemble of objects.

Amor Omnia describes a series of wall-mounted works consisting of two variable groups of corresponding text and image objects. Using common TV guide texts and images, plots and film stills about couples as source material, their selection reveals a blend of textual and graphic representations of stereotypical emotional patterns, norms and taboos.
Unlike the clear and fixed text objects, the image objects are based on a pegboard system. A box filled with dowels is placed in the center of the exhibition, and visitors are encouraged to rearrange and modify the image objects. Thus the images become disassociated from their original narratives over the course of the exhibition, gaining new ones instead.
The work examines the perception of correlating linguistic and graphic spaces, placing special emphasis on the viewer’s physical and temporal relationship to an ensemble of objects.