如果不首先提及邮寄信封上那些用于保护私人内容不被窥探的交织曲线、线条、正弦曲线、符号和字符组合,客观上很难评价尤尔根?马耶尔。尤尔根?马耶尔自20世纪90年代中期起就一直在收集这些数据保护小图案,他似乎已经痴迷于这种以不同方式沉淀在其作品中的视觉(或反视觉)元素。它们代表了其作品中的主要图像材料和概念源(也包括在2012年威尼斯双年展瓦莱里奥?奥尔贾蒂(Valerio Olgiati)展台上的作品《象形文字-当代建筑师的文字》),尤尔根?马耶 Jurgen Mayer is objectively difficult to evaluate without first mentioning the combination of interlacing curves, lines, sinusoids, symbols and characters on postal envelopes that are used to protect private content from snooping. Jürgen Mayer, who has been collecting these small data protection patterns since the mid-1990s, seems to have become addicted to this visual (or anti-visual) element that precipitates differently in his work. They represent the main source of pictorial material and concept in their work (also included in the pictorial pictorial text of contemporary architects at Valerio Olgiati’s booth at the 2012 Venice Biennale) ), Jurgen Mayer