Noh präsentiert eine Bühne für einen unbestimmten Character, der die Bühne betretend einen rituellen Tanz aufführt. Dieser Charakter umschreibt mit seinen Bewegungen die Beschwerlichkeiten, die bereits hinter ihm liegen, die Hindernisse, die noch vor ihm liegen, und bekundet zugleich seine Absicht allen Widerständen zu trotzen.
The 3D animation “Sculptures” provides a view into a deserted, probably transhumanist world. The actors – each a combination of technology and fragments of cultural achievements – interact in such a way that it is unclear whether they are in a conflict or whether they are exchanging information.
The three animated films are a requiem for the bee after its demise. In these, a facsination and reverence are expresed through the reconstruction of a long-gone life form, but we cannot be sure who is presenting this to us. It is no longer humankind who laments the loss of a species in its living enviroment.
Four synchronously moving architectural visualisations deliver insight into the entanglement of architecture and utopia and mark the beginning of the „order“ cycle. The film reveals the microstructure of the series by gradually becoming the macroperspective.
First of all the title refers to the so-called „zwitterions“, molecules which are notable for having positively as well as negatively charged particles.
The metaperspectives then provide the observer with a view of the simultaneousness of the, to some extent diverging frames/channels that form a metaperspective on the momentum of progress itself.
At the beginning of history people were sitting around the campfire telling stories of fairy tales and myths to each other. Here people came together in „virtual“ worlds in an attempt to make the world and the life in it understandable. This habitus was always accompanied by artistic artefacts that carried the content of the stories into the real world and the new wave of 3d-printed sculptures exemplify this desire with their digital origin.
© Matthias Danberg 2021