The work of Oliver Laric converts qualities of the digital age, such as reproduction, limitless variability, and instant distribution, into the physical realm. His 3D scanned sculptures challenge our understanding of art and conventional modes of arts institutionalisation, this including the complex legal ambiguities of copyright and rights of use. His effort to make art that is traditionally locked in the museum space, accessible to an increasingly digital society, regardless of social, geographical, or cultural boundaries, on one hand, challenges traditional modes of art institutionalism, while on the other, democratises art by stripping it of the constrains of private ownership. The anthropomorphic nature, characteristic of Laric’s work is then suggestive of a broader interest in the hybridisation of matter and life, as depicted within the present digital age.
Oliver Laric has exhibited his work at S.M.A.K. (Ghent), Museum of Contemporary Art Cleveland, Guggenheim (Bilbao, Spain), São Paulo Biennale, ICA Boston, Centre Pompidou (Paris), Whitechapel Gallery (London), ExtraCity Kunsthalle (Antwerp), Kunstlerhouse Benthanien (Berlin), Palais de Tokyo (Paris), Saint Louis Art Museum (St. Louis, Missouri), among others.
Laric’s work is part of the collection of the Walker Art Center (Minneapolis, MN), Nouveau Musée National de Monaco (Monaco), MUMOK (Vienna), Ferdinandeum (Innsbruck, Austria), Kunsthaus Bregenz (Bregenz, Austria), The Collection Museum (Lincoln, UK), Kunstsammlung (Dusseldorf, Germnay), Museum für Moderne Kunst (Frankfurt, Germany), Cleveland Art Museum (Cleveland, Ohio), Hirshhorn Museum and Sculpture Garden (Washington, D.C.), Stedelijk Museum (Amsterdam), Frac Bretagne (Rennes, France), among others.