Giordano Bruno marks with his work „The shadow of the Ideas“ a key work in the tradition of the art of the memory. He proposes a philosophy that unites the combinatorial of knowledge (attached to the ideas of Ramon Lull of the twelfth century) with the force of the imaginary, thus combining determinism with the unknown and unpredictable of the cosmos, the soul and its relation to knowledge. Citing Eduardo Vinatea’s introduction of the 2009 edition of Umbris Idearum, as a discursive architecture of the soul.
For this installation the bunker K101 of Cologne, Ehrenfeld is transformed into a theater of memory, operating the spaces as if of the imaginary palace
of Giordano Bruno was treated, where each ray of light, each color and each stone was placed by the same Giordano Bruno. The accumulated wisdom of Umbris Idearum grows as an autonomous organism, transforms, interferes, modulates and makes each see more difficult to decipher.
The relationship between place, literature, thought is where on stage, creating a texture that reflects the complexity of woven reality.
The sound is composed by Ali Chakav and during one night a sound performance of 6 hours was performed with the participation of Ali Chakav (electronics), Rahel Pötsch (Cello) and Axel Pulgar (electronic) at the Bunker K101 at the Körnerstr. in Cologne.
6-ch video installation, 4ch-sound-composition, light-installation
7th – April, 2017.
COMPUTER AIDED INSTALLATION
Plastic, wood, carbon fibre, custom electronics, code, geiger counters
This Concept consists in 5 site specific installations conceived for the Museum of Contemporary Art Taipei MOCA Studio in Taipei.
Coincidence Setup is dedicated to the idea of coincidence — and the question of how to understand what is coincidence and what not. The fact that two events can take place exactly in the same time is sometimes translated into the belief that there is no reason for such contemporaneity, If not some kind of chance.
A so-called coincidence circuit is made of 2 Geiger counters, which is supposed to detect particles from cosmic showers — so-called muons. The experimental set-up of a coincidence circuit is connected to a modular display made by 2 groups of vertical louvers, reaching from ceiling to floor.
A computer controlled motor is mounted to each louver to rotate it around its axis. The regular kinetic choreography will be disturbed by events supposed to be related to cosmic showers detected by the coincidence circuit. The movements of the louvers are visible also as shadows — a kind of circuit of 2nd degree, where the physical is dematerialized into the shape of a projection.
One of the main aims of this part of the installation complex is to focus the tension between the representation of pre-set events, and the possibility
of interruptions in their representation— so that observers can suddenly imagine to have misunderstood or misallocated the object of their observation.
Museum of Contemporary Arts Taipei – Taiwan. October 8 to November 20, 2011 (MOCA Studio).
In cooperation with Ralf Baecker / Karin Lingnau / Jihyun Park / Arthur Hölling / Susanna Schoenberg as Re-Active Platform.
Re-Active-Platform Production (2011)
VERITÈ / ANDERE RÄUME
is an intervention in a private forest at Germany-Belgium’s border consisting in custom mades boxes that alludes to the peep show apparatus from the 17th century.
By using radio receivers in tuned in random frequencies an acoustical interruption of the natural surrounding creating a surreal situation.
By installing a high reflective mirror wall in the forest, now the interruption would be in the visual level by creating a repetition of the seen taking reference to the text Foucault’s observations in his publication “Other Spaces” and his thoughts on a idea of heterotopias
These works were showed as part of the FIELDSITE Project of Achim Mohné‘s and the Seminar Unsite Temporalities at the Academy of Media Arts Cologne in der the border between Germany and Belgium.
“Medieval instruments and monastic singing form a touching conclusion and at the same time the highlight of the concert series. Together with the Venezuelan light artist Luis Negrón van Grieken, whose entirely material and visible art is always aimed at the invisible, psychic, the traverse flutist Norbert Rodenkirchen and the singers Sabine Lutzenberger and Lydia Brotherton open contemplative spaces. Visitors will experience transcendent sounds and artistic lighting installations by a great artist.”
Curated by Benedict Hecht und Georg Dietzler
Sabine Lutzenberger, Voice. Lydia Brotherto, Voice. Norvert Rodenkirchen, Old Flute, Arph.
Luis Negrón van Grieken – Light / Space
Commission work for the St. Maria Am Kapitol Church
, Cologne. Concept Luis Negrón van Grieken, Sound-Composition by Echo Ho.
9 Video Projectors, Light, 6 Sound Channel Installation
Direction: Andreas Tiedemann
For the scenography a conceptual approach for the inner and outer space of Orpheus was built. Since the external physical world where David Moss would perform on space was built by a triangle platform, the internal Orpheus‘s world was represented by projections of generative graphics, interacting with the singer’s movements.
Eine Kammeroper über den Mythos von der Macht der Musik.
Für das Bühnenbild wurde einen Raum für Orpheus entworfen, die die innere Welt und äussere psychische Welt darstellte. Mit 2 Projektoren von der Decke aus wurde diese äussere Welt mit Wortbilder und abstrakte Strukturen als Echtzeitgrafik dargestellt. Diverse Programme wurden für die unterschiedliche Szenen erstellt, die während des Stücks aufgerufen werden konnten.
im Zusammenarbeit mit Ohrpilot