BLUR - ™3.6]HypeReal_PHOTOGRAPHY
A THEATRICAL MUSIC-SCULPTURE by Sergej Maingardt, Jens Standke and Rosi Ulrich
in June 2019 as theatrical VR-Installation at Kunsthof Galm, Brandenburg
requests under info [at] wehr51.com
™3.6]HypeReal_PHOTOGRAPHY deals with the fuzziness in the media image. It questions the reality of video images and photographs in art and documentation. In which ways do the images influence reality? "The extent to which truth is influenced and changed today by the media can only be guessed from the global political situation. What is certain, however, is that the blurriness of a printed text, an image or news information can contribute to the awareness that there can be no image of a "reality" today. We can no longer return to the moment of the sharp image and the sharp information, artistically as well as in documentary terms. So more than ever, it is a matter of making people aware of the fuzziness when they want to deal with truth and reality." (Norina Quinte)
All 6 miniatures are also available as theatrical virtual reality installations (with VR glasses and headphones).
with: Fabian Ringel, Karin Kettling; Speaker: Oliver Schnelker
Saxophone Quartet: Fukio Ensemble
Artistic direction: concept/composition: Sergej Maingardt, video art: Jens Standke, concept/text: Rosi Ulrich, Director: Andrea Bleikamp
Costume: Claus Stump, costume production: Andrea Uebel; Production management: Hannah Greve; Technique: Jens Kuklik; PR & Public relations: neurohr & andrä
after an essay of: Norina Quinte
UA: PHOTOGRAPHY & FUZZY LOGIC: 1.3.2018, 20 h, 2.-4.3.2018, Orangerie Theater im Volksgarten, Cologne
13.7.2018, KunstSalon Theaterpreis-Festival, Köln / as theatrical VR-Installation on 16. June 2019, Kunsthof GALM, in the frame of the Festival JÄTEN IM PARADIES, Milower Land, Brandenburg
360° - Video
360° - Video - to move: hold the curser and move over the picture
The half-hour meditation on Heisenberg's theses is a one-man show in which actor Fabian Ringel has to deliver a breathless tour de force under high pressure. He is supported by the challenging video installation by Jens Standke.
In this way, the evening's visitors take a seat on beanbags in which they let themselves fall and can direct their gaze to the ceiling covered with semi-transparent canvas, on which the physical explanations are illustrated with abstract sequences of images. Driven by pulsating minimalist electroscores, particles and electrons represented as white dots form and condense into ever new formations. Even if physicists are not necessarily able to speak out enlightened when Heisenberg's fuzziness or Schrödinger's cat is spoken of next time, a hunch remains that the so-called reality is perhaps not as concrete and factual as it seemed a moment ago. Is perception merely the human attempt to create patterns and make sense in order to distract oneself from the prospect of incoherent chaos? (Robert Cherkowski in Choices 11/17)
But it was only with the invention of photography, the 'objective' image of the world, that the image increasingly began to detach itself from the actual object or event.
It was with the photography that blurriness came into the world.
Initially it was not a question of deliberately depicting images inaccurately, but the idea of transferring one's own subjective perceptions into the image through blurring was becoming increasingly enthusiastic. Thus the fuzziness can be understood as an imprecise moment, as a gap between two stable states, as an image of what cannot be shown. The non-expressible opens up a much greater range of thought for the viewer than the obvious. It is therefore a matter of enthusiasm for abstraction.
This is the exciting moment in the vagueness.
In the schedule of WEHR51, produced 2017 and 2018 by the theater-51grad.com, in cooperation with Freihandelszone - ensemblenetzwerk köln
sponsored by: Ministry of Culture and Science of North Rhine-Westphalia, Cultural Office of the City of Cologne