Showroom Archive - ArtLight''



[su_row][su_column size="2/5"] ma meta [Marl] _ KlangPlastik | 2020 [/su_column] [su_column size="3/5"][su_spacer]
The new KlangPlastik (this term was coined by Johannes S. Sistermanns) 'ma meta [Marl]' was created especially for the Skulpturenmuseum Glaskasten Marl. In the multi-media space, sound, colour, video, space, photo, drawing, foil, five individual perspectives (including graphic notation / Australian paper tree bark / resonating wall / stretched foil), which are loosened and seamlessly positioned in relation to each other. Decoupling creates space: that between spaces [ma]: unpredictable, unrepeatable, unfinishable: only the perceiver can qualify, experience all this. At the same time: space is membrane: space is resonance. Sound sources are almost exclusively decoupled from traditional sound projection in loudspeakers. Sounds are transmitted directly to foil, wall, wood, iron by means of sensors and exciters.

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Liquid Light | 2020

The basis of these images is a photo of a light source or light track:
Illuminated facades, traffic at night, lamps, subway corridors…
Special colour filters and inversions create images like the ones you can see here.
Depending on how often certain filters are applied, the same basic image can have completely different results, which however are always one and the same thing: coloured light.
The light gives the pictures their structure, their form, determines the course of their lines and edges… thus is the basis of the whole, both literally and metaphorically.

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Spatial Disorientation | 2019

For the exhibition „Deflection“ at the Brno House of Arts, Pavel Korbička (*1972 in Brno/CZ) designed monumental, site-specific light installations that form a counterpoint to the dominant architectural symmetry of this exceptional space. The exhibition consisted of walk-in installations made out of polycarbonate. These sculptures, interlinked by their meaning, were illuminated by coloured neon light.

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Something comes from Nothing | 2019

Hitoshi Kuriyama (*1979 Hyogo, Japan) has established a hypothesis which he presents by artistic means: 0 = 1. By doing so, he creates sculptures that remind us of explosions or trigger associations with the Big Bang. Everything flies apart. But Kuriyama combines scientific methods with physical phenomena such as light and vacuum, sound and movement to prove his thesis. He creates a fragile structure of light and non-light characterized by a transcendental lightness in the air. Some tubes shine; others are broken and robbed of their light.

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The glory of the light – A staging | 2019

The architecture of Muze’umL (Roeselare, B) inspired Monique Thomaes to create a setting in which space, light and the viewer played a decisive role. Thomaes’ neo-minimalist works in steel, wood and glass, which she realized during her time in Berlin (1988-2002), leaned against the wall or lay on the floor. In the 90s, these sculptures developed into site-specific installations. – The space is reflected, changing lighting conditions and the movements of the visitors create a visual dynamic. Through an arrangement of glass plates leaning against the wall, the space dissolves into a play of reflections: “inside” invites “outside” and vice versa.

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On an endless loop shaped like a horizontal eight, container wagons in large toy size circle without beginning or end. Sometimes a wagon seems to stay behind, sometimes a wagon seems to drive ahead, here the convoy condenses into a traffic jam, there it dissolves again – the wagons influence each other. At the rail junction, they pass each other extremely close and the sequence appears like a paradoxical zipper that constantly opens and closes. It becomes clear that with a single imprecision everything could collapse: The accident implicitly belongs to the system, as a deposited probability.

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Light has the extraordinary potential to allow us to define and manipulate space: “Without light there is no space”, Robert Wilson. In working with light, I am interested in space, which becomes a living frame to every light installation, in contrast to Mark Rothko’s no frame concept, and also to the individual emotions of visitors. The location, the ‘Schlossbergstollen’, abandoned caves and tunnels in the centre of Graz, was the inspiration for this project. Reclaiming the space for the public and giving it a new function through art, mainly Light Art. The public is confronted with art without expecting it.

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The Light objects are characterized by a strict geometric interpretation, subject to minimalism and physical change in which the breaking of light occurs, since on the border between the media, by definition, the latter changes its direction. The light beam is thus dispersed when it enters or exits the glass. The projection rays are tied to the illumination coming from the LED strips laid at the bottom of the glass. The unified light in white, yellow, green or red colour is most likely subjected to the emotional interpretation. The object consists of differently shaped acrylic glass plates arranged in sequence one after the other. This creates a model-like appearance in which level oscillations and inclines vary. The whole becomes a vibrant spatial play of falls and ascents and a parallel of the so – called contour lines – isolines, which connect points with the same altitude.

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LumiereScene & SpaceCircles

Inhabitated spaces | 2019

A journey through forgotten geographies. Inhabited a long time ago and then lost in obscurity in the hands of nature and time. Architectures in the process of fossilisation. Companions of the soil and friends with the plants and stones. The project of LumiereScene & SpaceCircles travels through the landscapes of Spain. It is about to find and live in these lost places during the day and to embrace the space with light installations at night.

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CIRCA | 2018

CIRCA is a light sculpture that represents the circannual cycle of light levels on earth’s surface in southern England. It is divided into twelve physical elements, circles, that each represent one month of the year. The total circumference of each circle represents a twenty four hour day, the amount of daylight hours are displayed through the percentage of the circumference that is lit up. Light is the primary zeitgeber (time-giver) and is therefore the most responsible factor for setting endogenous clocks in plant, animal life and humans.

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