… is working with the perceptions of spaces and architecture
EGOIST / Hong Kong 2013
Video 2 min.
| collaboration Melanie Humann, Performer: Dorothy, Jovia, Miranda, Ping, Rachel, Stefanie, Vivian. Locationscout: Sampson |
funding Goethe Institute Hong Kong total dobze |
The narrowness and density of Hong Kong is felt everywhere. The high value of the ground and real estate leads to the scarcity of payable living spaces. In the center of the city where apartments are being changed into office spaces this is additionally intensified.
In the neighborhood around the Blue house we found an apartment house. The building had been finished in 1990. The 70 apartments of „ain terrace“ were never sold. Nobody ever has been living of one of those apartments.
For 23 years the building is standing in the middle of Hong Kong with no inhabitants. Many of the residents of the neighborhood arent familiar with the empty apartment building although it stands directly in the vicinity.
The building is no longer accessible and cannot even be seen from the street.
Seven women from the neighborhood have seen it.
HORROR VACUI / Riga / 2013
Videocollage 20min.
| collaboration Hannah Murgetroyed Jan Giesecke Kaspars Lielgalvis |
funding Goethe Institute Riga total dobze |
The research has been done during a 4 weeks long stay in Riga in the context of an „Artist in Residence Program”, invited by NOASS. The artistic focus was unused, empty buildings and their potential stories.
‘Horror vacui’ is the hypothesis that the nature in front of empty spaces „shrink back“. Therefore, empty spaces are anxious to suck gas or liquids, so they no longer be empty.
Horror Vacui is inspired by the interest of an athmosphere in derelict, empty spaces and abandoned buildings in Riga / Latvia and the further assoziations and narratives entwined around it. Coming from the concept of horror vacui – the fear of emptiness (void) and therefor the urge to fill it – I developed a narrative videocollage, by working with my experiences in those unoccupied spaces and found traces from the past. f an exisiting building, 2013
Transformation of an exisiting building, 2013
JUST THROW THE LITTLE STONE AGAINST THE WINDOW WITH THE WHITE SHIRT / 2010
Photocollage 400 x 150cm just throw the little stone against the window with the white shirt
| collaboration | funding Kunsthochschule Weissensee
Hochschulerektorenkonferenz Federal Ministry of education and research, Germany Ministry of education, China |
When we move about in the world, we perceive situations and things, and subjects and constellations in these situations. We continually compare them with the constructs and schemata that are stored as parts of our inner imaginal world, and then categorize them. We have developed concepts in order to communicate about “the world”, and to engage in exchange about it within a societal consensus. The condition for dialogue is that the thing or issue being discussed is already known in some way, since one cannot explain what a “fish” is to someone who has never seen a fish or a picture of one. The result is that what seems known is always categorized more quickly, since the process of perception always takes place faster the more often we have perceived things that are already known to us. A house is then a house – the image of an house. Time and work are needed to overcome superficiality and apparent reality. The issue here is to break through superficial smoothness and persuasiveness, solipsism and taking things for granted.
details
The house, consisting of only one module. What appears in seemingly endless repetition becomes a module itself, once again. Orientation made impossible. Girls and boys separated, the residents nonetheless transfer what is “private” into public space, because the most private areas of the house have been moved outdoors: the shower, wash basin and toilet.
2 times 3 is 4 and 3 makes 9 e, I’d make the world how I like
3x Oil on canvas 56 x 62 cm 2010 / Guangzhou
“…whenever we perceive our surroundings, we are the ones who invent these surroundings.” Heinz von Foerster
Three “Shanzhai“- artists in Shenzen / China were given one and the same copy of an original to copy (in their own way). 56 cm x 62 cm oil paintings were requested. Three different originals were the result.
details
„Productive landscape“
http://berlin-china-echo.blogspot.com
http://www.dw-world.de/dw/article/0,,5588068,00.html
No here but now
Video 16 min. 2009
| collaboration Editing Tosh Leykum Sounddesign Jan Giesecke |
funding Kunsthochschule Weissensee Suicide Circus CHB |
The „relative space“ is a system in motion, which is characterized by its fluid states. Within this dynamic conglomeration infrastructure, architecture and landscape lose their autonomy. It changes constantly, his frame of reference is changing continuously. The „relative space“ is composed of fragments: it combines different situations, places together, the perspectives are different, different dimensions are combined, depending on where the focus is set: the bird‘s-eye view, out of the plane, blurred, like out of the High Speed Train or the flower that just fascinated. The „relative space“ is characterized by shifting vectors He is a-hierarchically. This space is the space of oscillating relations, the co-existing structures, unfinished, a continual process of transformation.
filmscreening Suicide Circus Berlin 09.2009
„Productive landscapes“
Photocollage 200 x 80 cm 1999
The meaning of landscape rests on the tradition of the picturesque: a perception of nature as landscape conveyed throughout the medium of the static picture frame. The detail of the surroundings is always privileged in traditional landscape aesthetics, since the visual focus is selected from a fixed position. The selection of the theme is determined through the representation of the seemingly typical. But nature offers countless points of view for a picturesque perception. One is equally fascinated and irritated. The eye constantly oscillates between various points of view and leads the selection of a single excerpt of nature ad absurdum.
Photocollage 200 x 60 cm 2001
Photocollage 200 x 100 cm 2001
„Maasvlakte“
Photocollages 2000
| collaboration Sonja Wedemeyer |
funding |
Triptichon 3x 100 x 100 cm 2000
Photocollage 56 x 60 cm 2000
