Salomé Chatriot & Samuel Fasse Synthetic bodies – Moebius Leaves
The Six Moebius Leaves had been created originally for the final of the performance Synthetic Bodies, its third representation, in Galleria Continua, Paris, France in october 2020. Since they met, S//, Salomé Chatriot and Samuel Fasse have been collaborating on the creation of a world – Big World – whose narrative reveals itself in being exhibited. SYNTHETIC BODIES is one of the stages contributing to the emergence of their universe.
This performance is based on the concept of extimacy. It was thought by Jacques Lacan as the inversion of intimacy: namely, the desire to reveal a part of oneself as considered to be an intimate matter, while ignoring the consequences of this act. In a two-speed dance, the performers will therefore create the disorder between inside and outside. One of them, located in the building, will affect the movements of the other by activating the real-time production of a soundscape facing outwards, place of representation for the second protagonist. A ribbon of Moebius – an impossible object, a form devoid of interior and exterior, will further underline the turmoil that Salome Chatriot and Samuel Fasse create here by proposing a neutral space of free- dom where everything is decompartmentalized and presented on the same plan. Each of the Moebius Leaf is a deformation of this meta Landscape which is the moebius ribbon created by S//: placed in front of the original virtual 3D space, a glass leaf reflects the shade of this impossible object. The leaf is being activated and twisted then frozen in its movement. The Moebius leaves series enhance the decomposition of the dance of this special glass leaf, as a synthetic artifact.
Robert Gründler
Robert Gründler is a Photographer, who grew up in Lübbenau/ Spreewald and is studying at Ostkreuz Schule Berlin. He lives and works in Berlin. With his work he is exploring an interplay between images and objects. His visual language is linking documentary and portrait. He thematizes mostly socially marginalized groups and landscapes while visualizing fragments and trying not to lose sight of the work as a whole. In a world full of faster, better, stronger he’s practicing a way of working with deceleration. Inspiration for this project was the artificial material in a natural environment and so the intervention of humans in nature. The random discovered formation in the mountains of La Gomera in 2018 seemed to be planned and left for someone else to spot as a holdover from a person who been there. He decided to replace the supposedly intended arrangement in a similar setting to recreate the interaction of the contrived and coincidence neither knowing who left it for him or for whom he will leave it. The two images framed as one are leaving the viewer alone with a disrupted rope in the mountains and its story. The story should be about value of simple things as we got taught due to circumstances in the early past. Nature will be the haven and become a vital part of many people‘s lives again. It‘s A story about the unknown things of yesterday and the unpredictable of tomorrow. Have a look around and use the existing for the greater good.
Patricia Detmering SYNOPSIS
The purpose of art and the purpose of technology are at their core the same: immortality. ROOMS is a meditation on the human drive toward perfection, broken by the disturbance of the harvestman. It is said that disturbance causes the human to disappear, a technological and artistic death. If the viewer cannot see something, then it does not exist. The fear of error is human, technological and artistic. In a capitalist sense, error can mean loss of status, money and livelihood. In a human sense, error can mean death. The harvestman in ROOMS stands out from the house’s generic surfaces, reflective of our drive toward perfection and immortality. In this context the spider becomes a metonym for death, a stand-in for the thing we seek to remove from our lives. Baudrillard theories that our impulsive need to make sense of the world around us is at its core a search for immortality. In the digital age, this desire has mutated from a necessity into a weakness, a need that undermines what makes us a creative and inventive species. The two conscious beings in ROOMS are a woman and a spider, in an intimate encounter. This was inspired by my own experiences in lockdown. In the absence of human contact, I was encouraged to think about the ways in which we interact with the other living organisms that inhabit our environment. The presence of the spider is not just a disturbance: the project brings an equal focus to both creations. It is the spider that exerts control over its environment, in contrast to the passivity of the woman, reading aloud from a text written by others, in surroundings of someone else’s creation. By reversing the normal power relations between human and insect, the project explores the ways in which humans have developed a desire for control over the natural world. This control has had many consequences. Human beings have moved beyond developing ways to live in different habitats to a society in which we aim to hold power over its forces.
Bjørn Melhus
A short meeting of a shaving man and his female reflection in the magic glass/the TV monitor. A tale about coming and going and the desire of an incomprehensible virtual image. Based on the German version of the 1950’s Western romance, “Broken Arrow”.
DESCRIPTION: In “The Magic Glass” Melhus describes in the form of a Tele-story the mechanism of action between the ego and the medium: A young man is trying in vain to enter into a dialog with a young woman, whom he watches on a television screen. She represents his female alter ego. However, the television screen remains an insurmountable borderline which lets the attempt fail. The man is not able to find his unconscious female alter ego, remaining caught in his longing. (from: Bjørn Melhus, exhibition catalog, Bremen/Munich.)
PRODUCTION TEAM: Concept, Performance, Direction, Editing, Production: Bjørn Melhus 2nd Camera: Oliver Becker Make-up: Julia Neuenhausen
AWARDS: Young Artist Award, Videofestival, Berlin Special Award of the Marl Video Prize Eric-Wynalda -Techno- Award, Filmwinter, Stuttgart KUBO-Kunstpreis, Bremen
Victoria Pidust
Pidust combines photography and painting by transferring the genre of photography from something that depicts reality to an intrinsically creative medium for presenting modulations of reality. She prepares her work using characteristic photography materials: light, generative processes and equipment – which does not necessarily have to include cameras –, as well as imaging processes from disciplines outside the field. In her pictures, the artist brings together real, abstract and concrete forms of representation. The components of her montages are only partly produced with photographic cameras. In her artistic practise, she applies and mixes a variety of the imaging techniques available: analogue and digital photos, as well as 3D rendering produced by computer programs for architectural models. Fragment from text by Carla Susanne Erdman
