ALEXANDER HAHN
electronic media artist
The Artist’s Studio as Encryption Lab
The Partial Devastation of the Lower East Side Through Man-made and Natural Disasters
Date: 2021
Dimension: 43 x 64 inch
Technique: pigment ink on fine art paper
Edition: 7 + 1 EA
A door stays standing amidst the mounds presiding over a few linoleum tiles, a brass door knob and a half-buried sash window, remnants of our Ludlow Street apartment. Lenin still resides on top of a Norfolk Street tenement, unfazed and now with an unobstructed view towards Wall Street.
The Artist’s Studio as Encryption Lab
The Red Sands of Mars - revisited
Date: 2021
Dimension: 43 x 64 inch
Technique: pigment ink on fine art paper
Edition: 7 + 1 EA
Detail of my studio, the hole inspired by the Curiosity Mars rover's recent drilling of 32 holes into Martian rock to acquire mineral samples, which could be used to search for signs of past life on the Red Planet.
In this rendition, the studio lights turned on and the heating pipes re-installed. From the ongoing series of CGI inkjet prints entitled "The Artist's Studio as Encryption Lab", this the first one staged in the Chinatown studio, overlooking the Sara D. Roosevelt Park. The Egyptian scribe is a photogrammetry model of a sculpture that I photographed in the Egyptian Museum in Cairo in 2019. The stone reliefs with the symbolic figures normally adorn the Swiss National Bank in Zurich.
The Artist’s Studio as Encryption Lab
Bringing Things to a Standstill
Date: 2010
Dimension: 43 x 64 inch
Technique: pigment ink on fine art or soft gloss paper
Edition: 7 + 1 EA
The Artist’s Studio as Encryption Lab
The Early Morning Redness in the East
Date: 2010
Dimension: 43 x 64 inch
Technique: pigment ink on fine art paper
Edition: 7 + 1 EA
The Artist’s Studio as Encryption Lab
Answerable Questions and Questionable Answers from the Fly's Visual System - Sudden Apparition of a Small Black Hole
Date: 2010
Dimension: 43 x 31 inch
Technique: pigment ink on fine art paper
Edition: 7 + 1 EA2
The Artist’s Studio as Encryption Lab
Answerable Questions and Questionable Answers from the Fly's Visual System
Date: 2003
Dimension:43 x 31 inch
Technique: pigment ink on fine art paper
Private collection
The Artist’s Studio as Encryption Lab
Answerable Questions and Questionable Answers from the Tree's Visual System - Photosynthesis 01
Date: 2001
Dimension: 33 x 16 inch
Technique: pigment ink on fine art paper
Private collection
The Artist’s Studio as Encryption Lab
The Elements
Date: 1999
Dimension: 43 x 31 inch
Technique: pigment ink on fine art paper
Edition: 7 + 1 EA
The Artist’s Studio as Encryption Lab
Prehistory
Date: 1999
Dimension: 24 x 16 inch
Technique: pigment ink on fine art paper
Edition: 7 + 1 EA3
The Artist’s Studio as Encryption Lab
Formation of Clouds
Date: Aug 30, 1999
Dimension: 20 x 16 inch
Technique: pigment ink on fine art paper
Edition: 7 + 1 EA3
The Artist’s Studio as Encryption Lab
Optical Instruments
Date: 1999
Dimension: 24 x 16 inch
Technique: pigment ink on fine art paper
Edition: 7 + 1 EA
The Artist’s Studio as Encryption Lab
First Glimpse
Date: 1999
Dimension: 21.5 x 15.5 inch
Technique: pigment ink on fine art paper
Edition: 7 + 1 EA3
The Artist’s Studio as Encryption Lab
Still with my Spirit Daughter on 174 Ludlow Street, NYC
Date: 1995/2009
Dimension: 21.6 x 40 inch
Technique: pigment ink on fine art paper
Edition 7 + 1 EA
The Artist’s Studio as Encryption Lab
Anna's Cabinet of Astrological Magick on Zelazna and Grzybowska - revisited
Date: 1995/2007
Dimension: 11 x 40 inch
Technique: pigment ink on fine art paper
Private Collection
The Artist’s Studio as Encryption Lab
Modern Version of the 1887 Michelson Morley Experiment, the Light Slowed down to 30 cm /sec.
Date: 1996
Dimension: 17 x 30 inch
Technique: pigment ink on fine art paper
Edition 7 + 2 EA
The Artist’s Studio as Encryption Lab
Anna's Cabinet of Astrological Magick on Zelazna and Grzybowska #1
Date: 1995
Dimension: 11 x 40 inch
Technique: pigment ink on fine art paper
Photostiftung Kunstmuseum Bern/CH