A sense of connection | 2016
Following a philosophical debate, the massive glass plates are speaking. Their clear language enables the words light and shadow, light and dark, positive and negative, good and evil, earthly and spiritually to get in touch. The mutual symbol in both elements shaping an object together is the circle and its centre, a symbolic language leading back to the origins of the human cultural language and signs. I am –
SPIDRON MAPPING | 2017
SPIDRON MAPPING is an art installation based on the concept of László Zsolt Bordos. It uses stereoscopic 3d animation, sound and video projection mapped onto a geometric shape called the Spidron. The SPIDRON is a complex geometric shape invented by the Hungarian designer Dániel Erdély. The heavy sound was created and mixed by Darko Kolar aka Dekode. Using 3d mapping techniques, Bordos enhanced his abstract 3d
Bettina Schünemann’s work lies in the area of tension between the physical and digital spatial experience. How do we contextualise ourselves? With ones own pace? With the aid of navigation devises? What is the ‘truth’ here on site? Are Syria and Afghanistan ‘somewhere else completely’ or here? Which coordinates define my location? What goes on in ones head? What can be grasped with ones hands?
The installation consists of a slow, irregular wobbling mosaic mirror, whose surface is illuminated with 5 lasers in order to produce complex roving reflections onto a hanging screen.
The laser is quantised as a sharp continuous beam through this apparatus, i.e. dissembled into packages that appear to elude Newtonian physics and drip down and up.
Creation and destruction, life and death – it is within this conflict area that the drawings by José Gomes move. With clear reference to Brazilian nature and culture his works on paper have, in part, the effect of collages that generate a strong depth of image. Gomes’ research for his drawings also include the study of drone images of the Brazilian primeval forests that make absolutely clear how these important habitats
Ambech’s art identifies the networking of a real active, with a virtual reactive, plane. A physical playable interactivity emerges that is able to result in a complex characteristic behaviour of the art towards the viewer.
The interactive installation ‘NachSehung’ offers a spatial and cerebral overlayering of ones own seeing and being seen.
In the linear world of drawing light is irrelevant. Here however the immaterial light is itself a drawing material. The wave-particle duality of the light acts as blurring through the entire graphic exploration with this drawing technique and shows itself in varying aspects of hand drawing with light – as photography and video
Video projections don’t necessarily need to transform the recorded object. Rather this art form is predestined to visualise aspects that, at first glance, are possibly not visible to the viewer. The walls, the roof, the floor of a church – how much suffering, hope, unrest and devotion is contained within a wall accumulated over centuries, can be overlooked in daily life.
The installation imperceptibly tackles traditional visual experiences and references and opens up a space without perceptible boundaries in constant new variations. A series of precarious conditions arise that consolidate into a newer order of stability. Whoever enters the space will be surprised and astonished. We normally live in stable light-colour-conditions and thus we experience
| HONEY CRYSTALS | 2017 |
The heavy, very massively blown objects of glass bring light to dance. The fascinating of the Honey Crystals is the light, which defines the sculpture as well as it influences the perception of the viewer. The corresponding pieces seem to be engrossed in a tender communication with the surrounding landscape. Fresh impressions come on subsequent viewings, formed by the ambience and the viewer’s observation, relationship, distance and mood.
Eva Moosbrugger, Dornbirn/A
