Dieter Jung

Dieter Jung 2007

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Dieter Jung

Dieter Jung

http://en.wikipedia.org/wiki/Dieter_Jung_(artist)

One of the pioneers in holographic art

by Prof. Dr. Frank Popper, Paris

Dieter Jung is one of the pioneers in holographic art. This art, apart
from being a form of optical illusion, constitutes…


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http://en.wikipedia.org/wiki/Dieter_Jung_(artist)

One of the pioneers in holographic art

by Prof. Dr. Frank Popper, Paris

Dieter Jung is one of the pioneers in holographic art. This art, apart
from being a form of optical illusion, constitutes a specific phase in the history of Light Art. Illusionist tendencies exist in art since the earliest
times and were at certain periods even considered as forming an
integral part of Western art. As to the luminous phenomenon with its
curious ambiguity between presence and absence it is at the heart
of all holographic art and can be compared to our perception of the
stars whose physical presence has been superseded by the luminous
wave which reaches our eye long after having been emitted.
The aesthetics of absence has been the privilege of the mystics of all
times, but its metaphysical side is counterbalanced by its scientific
connotation in the area of holographic art.
Dieter Jung has played a prominent role in both of these aspects, the
religious and the artistico-scientific ones. He in fact studied theology at
Berlin’s Kirchliche Hochschule in the sixties while frequenting the city’s
Art School. The blend of plastic arts and theology played an important
role in the work of this artist when the hologram was introduced.
Already in 1972 he was highly impressed by the discovery of religious
tapestries, held at the Florence Cathedral Museum, depicting scenes
from the life of Saint John the Baptist based on drawings by Antonio
Pollaiuolo. The system underpinning the fabrication of these tapestries,
composed of thousands of interwoven threads, would be adopted by
Dieter Jung for his future pictorial research. Once he had definitely
renounced theology in favour of the plastic arts (not without reminding
us of Van Gogh and Mondrian), Jung painted a series of portraits
on canvas, composed of crossing vertical and horizontal lines, the
resulting ‘grid’ of which revealed the warp and woof of the canvas.
There followed a series of collage paintings made of bird feathers,
the structure, texture, and colour-range of which refract and reflect
light especially well by creating iridescent optical illusions. One could
mention in passing that iridescence is an aesthetic theme introduced
in 1912 by Giacomo Balla in a series of abstract paintings, some of
the genre’s first, made of interlinked rainbow-coloured circles. These
paintings are one of the sources of what in the 60s and 70s was
called Optical Art. Balla talked about the ‘iridescent beauty’ of his
compositions, while Dieter Jung speaks of ‘fractal beauty’ to qualify
his holographic production.
One of the first projects using this technique and carried out with the
help of a scientist, Donald White, consists of transposing a poem by
Hans Magnus Enzensberger, called Hologram , specially composed
for Dieter Jung. The poem begins with the words, “It is easy to build
a poem in the air. All you need are a few well-lit words,light-footed,
light-fingered, light-minded words...”. There follow thoughts on the
fragility and transience of human existence.
Jung is particularly fascinated by the rainbow and uses Benton’s
rainbow holographic techniques to produce several holographic
cycles: the multi-slit full-colour holograms Butterfly (1982), Feather
Shadows and Into the Rainbow (1983), and the multi-exposure
holograms Present Space (1984) and Different Space (1985). These
project their colour fields in wide vertical bands in front of, and
behind, the image plane. They can be experienced as a spatially
indefinable artistic effect of changing colourful shadows of light which
melt into the air.
In his more recent works, Holomobiles and Transoptical Mobiles
, Dieter Jung manages to instaure with the aid of unforeseeable
constellations an harmonical canon of lyrical light paintings in space.
The regular circulation of self-creative image developments is here
modified by the physical position and individual perception of the
spectator who becomes part of a playful cosmology of light. In all
these holographic works Dieter Jung seeks to combine the visual
knowledge acquired in his work as traditional painter with his more
recent experience of the hologram so as to explore the aesthetic
potential.
His goal is to stimulate spatial imagination, generate new mental
images and visualize spatial fusion. For him, holography is both an
exploration of the space and the illusion of light’s aesthetic qualities.
In his works the holograph is not only a product or a tool, but its
manifestations are based on the structure of its medium,light. Dieter
Jung is aware that holographic space cannot copy reality,and that the
effect of holographic space as well as its substantial existence derive
solely from the self-creating energy of light to which holography
gives absolute reality. As light is not only a generative principle but a
subject and the basic substance of the holographic image as well, the
self-reference of light represents an essential form for the articulation
of the holographic message.
It is on this level that Dieter Jung’s theological studies combine his
former plastic work and his technologically advanced more recent
artistic statements in a well thought-out synthesis.
全息艺术的先驱者之一
教授佛兰克· 珀普博士
迪特· 容是全息艺术的先驱者之一。他的艺术􀀀因不同于一般的光
学影像形式􀀀所以在光学艺术的历史中自成独立阶段。自古以来􀀀
魔术就存在于艺术中􀀀而且在某些阶段􀀀魔术甚至被视为是形成完
整的西方艺术中不可或缺的一部分。对于奇特的存在与消失之间的
模糊的发光现象􀀀光线位于全息艺术的心脏之处􀀀并可比拟我们对
星星的理解􀀀因为星星的物理存在是由于光波在发射后到达我们的
肉眼而形成的现象。
美学上的消失一直是神秘主义的特权􀀀但在全息艺术领域中􀀀这份
形而上的一面就被其科学内涵的一面平衡了。
迪特· 容在宗教和艺术科学方面上一直拥有着显著的地位。实际上􀀀
花甲之年的他依然在柏林教会高校里研修神学􀀀同时还进入该城市
的艺术学校不断地学习。在全息摄影引入后􀀀在这位艺术家的作品中􀀀
造型艺术和神学的混合就显得尤为突出。早在1972 年􀀀他就被收藏
在佛洛伦斯大教堂博物馆宗教挂毯深深吸引􀀀这个挂毯描绘了安东
尼奥· 波拉约洛的画作——施洗者圣约翰一生的场景。这些挂毯制
作的基础系统是由成千上万的混杂细丝组成􀀀迪特· 容将会在他未
来的图式研究中采用。一旦他明确摒弃神学、采用造型艺术后􀀀可
使我们联想起凡高和蒙特里安􀀀􀀀容就在帆布上绘了一系列的肖像􀀀
由纵横十字交叉的直线组成􀀀“格子”的效果就是能显露出帆布的弯
曲和纬线。
接着是一系列的由鸟毛制作而成的拼贴油画􀀀其结构、质地以及色
彩范围都折射、反射了光线􀀀特别是在处理彩虹闪光的形象方面􀀀
效果极佳。这里提一下􀀀彩虹色是由1912 年齐拉科摩· 鲍尔引入的
一种美学主题􀀀是由一系列的抽象油画组成􀀀起先的一些流派是由
相互联结的彩虹色的环组成的。这些油画为60 年代和70 年代所谓
光学艺术的起源之一。鲍尔在他的文章中提到过“彩虹美”􀀀而迪特·容
是用“碎片美”来对自己的全息制作进行资格鉴定。
最先使用这项技术的项目之一是由一位名叫唐纳德· 怀特的科学家
组织的􀀀项目包括了由汉斯· 马格纳斯· 恩岑斯贝格尔所著的一首诗􀀀
名为全息图􀀀是特别为迪特· 容所著。本诗开头是这样的词语􀀀
“在天空中􀀀画一首诗很简单
你所需要的
不过就是几个适当的词语
几个轻盈的
灵巧的
轻率的词语”
随之是对人类存在的脆弱性和短暂性的思考。
容对彩虹特别迷恋􀀀并使用了本顿的彩虹全息图技术来制造许多全
息循环􀀀多缝全色蝴蝶全息图􀀀1982􀀀􀀀羽毛影子和进入彩虹􀀀1983􀀀􀀀
以及多暴光全息呈现空间􀀀1984􀀀􀀀以及不同的空间􀀀1985􀀀。这些
在前后的宽垂直带的彩色区域中􀀀投射出飞机的形象。它们可以在
一个不确定空间内营造出不断变化的彩色光影的艺术效果􀀀并能融
入空气中。在他最近的作品全息移动图和变化光学移动图中􀀀迪特·容
设法在空间中使用不可预见的星群来建立一个和谐的充满感情的光
线油画真作。自我创造的形象发展成具有规则的流通􀀀在这里就被
观众的物理位置和个人感知所改变􀀀而观众也恰好成为了这幅好玩
的光线宇宙图的一部分。
在所有的这些全息图作品中􀀀迪特· 容试图把传统画家在作品中所
取得的视觉知识和他对全息图最新的经验融合在一起􀀀以此开拓美
学潜力。他的目标就是激发空间想象力􀀀产生新的思维形象􀀀并把
空间进行形象化。对他而言􀀀全息图既是空间上的一种探索也是光
线美学质量的幻想。在他的作品中􀀀全息图不仅是一项产品或一项
工具􀀀也是一种基于光线结构的显示。迪特· 容清楚􀀀全息的空间
不能复制现实􀀀而且􀀀全息空间的效果与其实质存在起源于光线自
我发出的能量里􀀀对此全息图也给出了完全的本体。因为光线不仅
是一项生成的原理􀀀也是一项科目􀀀同样也是全息形象的基本物􀀀
光线的自我参考可以对全息信息的清晰度描绘出一个基本的形式。
正是在此程度上􀀀迪特· 容的神学研究以一个严谨的综合形式结合
了他先前的造型作品以及其最新的高科技艺术的表现。_

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