More about the project Mirrsaice Now is here. Book by BiggBoss
Category: project
Operative Performances at LEAP, Berlin 2011
I was invited to participate in Operative Performances at LEAP, Berlin, and had a great time working with Daniel Franke on the piece. The performative part was done by Brina Stinehelfer and Francesca Romana Ciardi. The event was organized by the We Are Chop Chop collective. Special thanks to Daniel Franke, John McKiernan, and Kai Kreuzmüller.
A black screen is hung on the wall – or is it actually a canvas? It shines and reflects and one can almost look through it. One might think of Malevich’s black square, positioned in our white cube. Malevich’s masterpiece was hung on the top of a ceiling’s corner facing slightly downwards to the audience, a style which was reserved for russian icons only. If the viewer moves close to the installation, it starts to move, making the screen bend in the upper center. The observer’s eyes can’t focus anymore and the idea of looking at/into something is broken. The emerging image is more a result of movement and less of shapes. Literally having a thin line between human and machine – digital evolution is alter the world, and it is impossible for the individual to keep step with it. Being both present and somewhat unknown, we follow our digital icon of today.
Kai Kreuzmueller
Worlds as Fragments (Live) feat. Berg Orchestra at Museum Kampa, 2010
Orchestra Berg asked me to provide a visual accompaniment to their latest piece, which Jakub Waisar was supposed to compose for them. I suggested they reconsider the entire concept. The soft VJ accompaniment evolved into a full-fledged collaboration between image and sound, between a visual artist and a composer.
Jakub Waisar came to my studio to understand how my “Worlds as Fragments” installation works. While creating this piece, I listened to cryosleep music for almost a year. The tempo of my work slowed Jakub and drew him into its proportions. Jakub decided to compose his first ambient work, “Ambient No. 1.”
Until the rehearsal with the orchestra, which took place a few hours before our performance at the Kampa Museum, I couldn’t fully grasp how it would sound. During the preparations, Jakub drew something like a line oscillating in different ways instead of traditional notes. I could better understand and prepare my part thanks to this imaginative musical notation.
I enhanced the original “Worlds as Fragments” installation with additional light-kinetic components. I connected it to the control panel, allowing me to control the miniature theater spectacle.
It was an excellent experience for me, made even more special by Mrs. Meda Mládková’s presence in the front row. – Thank you, Berg; thank you, Jakub.
Worlds as fragments video documentation
Worlds as fragments at 22PRESENTS
Worlds as fragments presentation at showroom 22PRESENTS
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