© Andreas Gockel
Videoinstallation | 2016 | Deutschland
Hauptdaten
| Regie | Robert Henke |
|---|---|
| Produktion | Imbalance Computer Music, Robert Henke |
Drehdaten
| Drehorte | Gijon, Spanien |
|---|
Projektdaten
| Seitenverhältnis | 16:9 (1 : 1,78) |
|---|---|
| Tonformat | Stereo |
Kurzinhalt
In the 1950s the village of Fall in the south of Bavaria slowly disappeared under the rising waters of the newly built Sylvenstein water reservoir.
In 2015 the reservoir had extremely low water. Ruins of the old village became visible again; remains of walls forming broken grid-like structures, usually submerged below the water surface. These images became the inspiration for this installation.
Centred in the room is a ten meter wide cubic structure, suspended from the ceiling, consisting of 180 squares of thin fabric. The distribution of the squares has been chosen from a set of possible patterns generated via a random algorithm. Lasers draw fluctuating and ephemeral shapes of light above the heads of the visitors, illuminating the structure and the walls behind it, floating through it like water. The light touches the object, plays with its geometry, making its fragmentary nature even more evident. Vivid colours are contrasted with pure white, bright narrow beams with near darkness. Strict geometry is paired with perfect curvatures, fast motion with nearly frozen states.
A synchronised, sonic layer composed of transformed sounds of water and various synthesis techniques surrounds the visitor and oscillates between friendly immersion and an unsettling tension. The installation uses precision, high-power lasers and a multiple channel sound system, controlled via custom software written by the artist.
In 2015 the reservoir had extremely low water. Ruins of the old village became visible again; remains of walls forming broken grid-like structures, usually submerged below the water surface. These images became the inspiration for this installation.
Centred in the room is a ten meter wide cubic structure, suspended from the ceiling, consisting of 180 squares of thin fabric. The distribution of the squares has been chosen from a set of possible patterns generated via a random algorithm. Lasers draw fluctuating and ephemeral shapes of light above the heads of the visitors, illuminating the structure and the walls behind it, floating through it like water. The light touches the object, plays with its geometry, making its fragmentary nature even more evident. Vivid colours are contrasted with pure white, bright narrow beams with near darkness. Strict geometry is paired with perfect curvatures, fast motion with nearly frozen states.
A synchronised, sonic layer composed of transformed sounds of water and various synthesis techniques surrounds the visitor and oscillates between friendly immersion and an unsettling tension. The installation uses precision, high-power lasers and a multiple channel sound system, controlled via custom software written by the artist.