2018, mixed media ( jack posts, super 8-projectors, rc-prints, acrylic glass, extension cords)
Sociologist Erving Goffman states, that there will only be a conflict, if there is one fixed point of view and another attitude who is trying to influence the solid side. The installation is a visualisation of this theory, but translated into two technical mediums, namely photography and film, affecting each other. In different acrylic glass enclosings, analog photo prints are fixed in place. Right next to the photographs, Super8-projectors show films, interacting with their photographic opponent. The mixes between photography and video show simple visualisations of force and resistance performed by people of different race, color and gender.
A former air raid shelter is being transformed into a secondary darkroom. In the whole room, special red darkroom light (safelight) was installed. Their function is to provide special light, which gives the human the ability to see while processing analog, light sensitive paper, without exposing it because of it’s special wave length. The photographic paper hanging on the walls of the shelter therefore won’t be affected by the red light, allowing it to stay white and unexposed. In the same room, three photographic enlarger were installed too. Their regular function is to expose analog photographic paper. Normally, a negative film can be inserted into the devices, to produce photographic prints. Here, now film is added, so only the white light of the device’s bulb leaks out of their openings. Because the light is directed onto the sheets of photo paper the wall, the paper is exposed, resulting in the color black. On the spots, where no white light and only the red safe light hits the paper, there is no reaction allowing the paper to stay white. The installation can be seen as an analogy to the history and the past function of the room as a safe space, but also as a symbol for the danger outside.
the cobra effect
2018; mixed-Media (hd-projection, photograms); series of 4
Social Media platforms like instagram provide a nearly endless amount of photographs. Daily, millions of photos are being uploaded. As an attempt of compression, light sensitive paper was held on a smartphone screen in the moment of scrolling through an instagram profile. This act was repeated with several instagram accounts. Each sheet of paper therefore summarizes all photos on one account. No single image can be detected anymore, only depicting fragments of the profile images. In the exhibition room, the photograms exhibited were analogously enlarged to a height of about two meters, hanging right next to videos which show the photocopied profiles in the moment of scrolling through.
a static peak
2018; mixed media (laserbeams on analog rc-paper, laser light, speaker, music recordings)
A static peak symbolically illustrates bygone experiences. A photogram shows light traces of a laser light, as seen in clubs and discos. Both laser light and photo paper were taken into a darkroom, where the light sensitive paper was exposed to the laser light, resulting in the moving patterns of the laser being fixed on the paper. In the exhibition room, now and then, short and dull music recordings from already past nights come out of a speaker. The speaker stands right next to the laser light, which gets activated by the sound, projecting its light on the photogram on the wall one more time. Both light patterns, the fixed one on the photogram and the actual light beams in the exhibition room unite to a single pattern. Traces of the past and now blend into each other, align, until the music and the sound-activated laser light turn off again. A static peak patterns on the way a human brain recalls its memories. Here, music and light function as trigger.
2017; smartphonelight on light sensitive rc-paper; series of 9
Marshall Mc Luhan already wrote in 1964 „We live in a difficult world where we are witnesses of a fatal clash of highly sophisticated technologies. We approach new technology with the physical and sensual reflexes which we were conditioned by the old ones.“ Today, selfies are self-portraits made by ones own hand and a smartphone. In this work, the new digital world encounters the old analog time. In a darkroom, different people take selfies with their phones. In the moment of pressing the shutter, a light sensitive sheet of photographic paper is being held in front of the smartphone display. The flash and the light of the screen expose the paper. Because the phone was held in the hand at this point, the selfie and the holding gesture both are being captured. Here, the smartphone takes in the place of an old photo enlarger. This work visualises a technological evanescence. It is a try of pairing a new habit with old technology.
2018; super 8- installation
A Super8- projector projects a loading cycle on the wall of an exhibition room. The cycle was transferred from the digital onto Super8-film. The end and the beginning of the film material were cut together and form a single loop. Through playing the film, the impression of an endless loading process emerges. Running along the ceiling atop the projector on the floor, the film material makes the loop physically experienceable.
from here to eternity
2018; disco-ball light on light sensitive rc-paper
A 40 meter long sheet of light-sensitive photographic paper was hung up against the walls of a room, which functioned as a temporary darkroom. Afterwards, the paper was exposed by the light rays of a disco ball, still hanging in the middle of the room. The ball illuminated for the exact same time as the playing time of the song „from here to eternity“ by Giorgio Moroder, who is regarded as a joint founder of the disco genre and as a forerunner of todays electronic music. About 40 participants were invited for the time of the exposure. For about seven minutes, the disco light shone along the patrty scene and exposed the fleeting movements of light and shadow on the light sensitive paper.
time is only a kind of space
2018; mixed-media installation (table, super 8-projector, computer)
A Super8-projector screens a video onto the display of a computer. The computer runs a video player on its desktop, not playing, but only showing a black pause screen. The Super8-projection takes in the place of the digital video, by projecting the analog film in the window of the media player, conveying the impression that the computer itself would run the video. The two technologies merge together, visualising and contrasting the acts of collecting memories over the last centuries.
2018; TV-light on light sensitive baryte paper, tube tv’s
Preserved Yesterdays catches the last rays of old cathode ray tv’s in the moment of turning them off. In the exact moment of pressing the off-button, a sheet of light sensitive baryte paper is being held on the screen of the TV. Thus, the collapsing of the image is preserved on the light sensitive paper.
survival of the fittest
A slide projector emulates the automatic input search of a modern HD-projector. Each single step of the input search of the digital projector was photographed and transferred on slide film. The slides are being played by he old analog projector in a loop, creating the impression of an endless search for input.
days of absence
2017; smartphonelight on light sensitive rc-paper; series of 7
Days of Absence describes the never-ending receiving of text messages during a week of smartphone absence. Every day, the phone was placed screen down-facing on a sheet of light sensitive photographic paper. Every time the phone received a message, the lock screen lit up for a couple of seconds, exposing light on the paper. The more messages the phone received, the more light fell on the light sensitive paper, resulting in a longer exposure time. After 24 hours, the exposed paper was replaced by a new one. This process was repeated for seven days. The resulting seven photograms, each represent a varying number of incoming text messages, depending on the quantity of the day. The darker the paper has become, the more messages were received that day.
2017; hd-video; 5.20 min
In Flint, an old peasant woman kindles a bonfire in the evening. The fire is repeatedly outshined by a spotlight. The artificial light, which is activated by an infrared motion detector, is impaired by the heat of the fire. In the background you can see the facade of an old farm building. The motion-activated spotlight was recently installed by the peasant woman‘s son, who is now the second-generation to work the farm. His newly-installed lighting disrupts the accustomed habit of the protagonist who tries to find her place amongst decay as well as innovation.