The project 'For whom the tides toll 2.0' refers in many ways to the area around DordtYart where water, ships, nature reserve Biesbosch and religion play a leading role. Characteristic for this area is the large tidal range which can reach more than 1 meter. The artist uses various ways to thematize the dichotomy between nature in technology or nature versus culture and tries to synchronize the sculptural elements in new order, time and rhytm. The system of wooden air ducts used in this mechatronic sculture is an abstract map of the five major waters in the Biesbosch area. The air blown through the channels is entering the organ pipes that produce the sound. The tone is changing according to the tides change that is different each day. The biotope includes plants that placed in front of the windows speed up the evaporation process. By this the vases are getting lighter and pulling the valves on the organ pipes. The natural phenomenon that run the installation has its very own rhythm and therefore causes the pitch of organ pipes sound different every day.
Landscape in Motion
Cinematic Visions of an Uncertain Tomorrow
Landscape takes place. According to Lucius Bruckhardt, it is not the mere appearance of the environment, it is also a structure which we only perceive with the help of our pictorial memory. The architect and ‘strollologist’ thus refers to a perception of landscape which can be understood in pictorial sequences – the filmic perspective, located in time, maintains that distance to landscape needed to perceive it.
In fact we can hardly imagine these days looking at the landscape without the ‘eye’ of the camera. Alone the view of our planet from space, which shaped our consciousness following the first photograph of our globe from the moon, changed permanently our dealings with landscape: from this perspective we perceive earth as a landscape that has been recorded, tamed and appropriated by man as territory. Its definitive finiteness and the ongoing change in resources, e.g. in agricultural land, are radically brought to our attention day in, day out with the help of the camera.
Using the example of pioneering works from the 1960s, the exhibition Landscape in Motion shows that landscape is a term that is subject to continuous change in the human mind. Film plays an essential role in this – as the prerequisite for capturing the reality of landscape, but also as a kind of catalyst that fundamentally influences these processes of perception.
With works by Darren Almond, Rosa Barba, James Benning, Ursula Biemann, Lucius Burckhardt, Leo Calice und Gerhard Treml, Center for Land Use Interpretation, Tacita Dean, Marine Hugonnier, Mathias Kessler, Markus Jeschaunig, Armin Linke, Lukas Marxt, David Nez, Walter Niedermayr, Qiu Anxiong, Ed Ruscha, Klaus Schafler, Allan Sekula, Robert Smithson, Shi Guorui, Michael Snow, Guido van der Werve.
The exhibition turns its focus on the notion of the American landscape in the second half of the 20th century and illustrates how, in the painting of Hyperrealism, a romantic American tradition of the depiction of the land has become a kind of glorification that is highly significant for the history and development of our view of landscape. Paintings of American Hyperrealists are juxtaposed with photographs of some ‘New Topographics’ and the positions associated with them to determine the differences and commonalities of the two currents that have developed side by side.
With works by Robert Adams, John Baeder, Lewis Baltz, Robert Cottingham, Rackstraw Downes, Don Eddy, William Eggleston, Richard Estes, Walker Evans, Lee Friedlander, Ralph Goings, Richard McLean, Ed Ruscha, John Salt, Ben Schonzeit, Art Sinsabaugh, Stephen Shore, Joel Sternfeld.
EGO UPDATE. DIE ZUKUNFT DER DIGITALEN IDENTITÄT
ist ab dem 19. September im NRW-Forum Düsseldorf zu sehen.
Die erste Ausstellung des neuen Direktors, Alain Bieber, setzt sich mit der Selbstdarstellung in Zeiten digitaler Medien von Selfie über Internetkultur bis zur zeitgenössischen Fotografie auseinander.
Zu sehen sind u.a. Arbeiten von Andreas Schmidt, Erik Kessels und Martin Parr (Foto).
Mit der Serie "99 Seconds of" startet das IKS eine Trailerserie zu Ausstellungen, die von uns dokumentiert werden und den Weg in unser Archiv finden. Viel Spaß!!