From the very beginning of Roman Štětina's design for Showing True Colour, there were fundamental considerations about the function of flags or banners in regular use. Flags are supposed make the information they carry as visible and recognizable as possible. For Saarow Strand, Štětina designed three flags that work on the opposite principle. In fact, from a distance, their design, like camouflage, noise, or a stereogram appears to be something where information is missing or is intentionally hidden. Upon closer inspection, however, we find that the print consists of photographs of the place where we currently are. Literally the only source for the pattern was a “non-photography,” which the project curators took for purely documentary reasons. In literature and especially in heraldry, this reflection of a macrostructure in a microstructure within the same text or image is called mise-en-abîme. The installation on the old mast tree can be understood as a visual description of exactly this effect.
Roman Štětina has been researching media culture as a social construct with established practices and expectations for several years. For example, he reworks editorial interventions by removing or emphasizing one of the existing image or sound components. His installations, video and audiovisual interventions combine his interest in sound and spoken word, especially in relation to radio, film and television programs, with the visual aspect of the objects or situations associated with its production. For him, a recording studio is a secret setting that is generally hidden from the listener of a program. The artist reverses this, makes the otherwise invisible visible through performative interventions and not only lets the viewer look behind the scenes, but also turns the scenery into an actor - often through disruptive interventions or in new, absurd contexts.Am A