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In contrary to the
smooth functioning of industrially produced
machines I emphasize on a for the inventions appropriate bumpiness."
Underlines this but affirms her spirit for invention even more strongly
so that one has to ask what precisely this spirit is and how it
differentiates in the field of art from the one in natural sciences.
2. Models of the 5th dimension The motif of the invitation card is a reproduction of a collage which consists of parts of technical drawings. Grypstra uses it because of its aesthetic stimuli but also because of the paradoxes which in the sense of surrealistic picture invention become intensified just by new arrangements. Such drawings often represent dynamic procedures but as they are graphically and two-dimensionally conversed on a sheet they necessarily stay motionless hence represent a halted condition. With this we promptly get close to the year subject of the EINSTELLUNGSRAUM: Bremsen (breaking). I have to mention here that with breaking it is not about stopping but rather slowing down. Stopping is a mere special case of slowing down just as much as the immobility of a drawing is just a medium to look at fleeing things or fast changes; because a drawing has always been produced by the movements of a creator. The product is the end of the movements and could also be read as a model of movement which have been put down for instance on a sheet of paper. Grypstra works with models - but rarely is taken notice of models similar to perspective drawings can be symbolic signs. If the perspective representation visualizes the 3rd dimension - space - with the 2nd dimension then one can conclude that a space model depicts the fourth dimension - time. This escalates furthermore when it comes to a kinetic one that is a moving model which hence cound contain the 5th dimension represented as symbolic form. So there is an interplay between the dynamic and the static that is either strengthened or diminished in the modell. The movement is |
brought
to a deadlock or the movement dominates the events in regards
of the representation of the 5th dimension which we are no longer
able to imagine. To which we could possibly
agree here is the effort that has to be applied in order to understand
the exhibition as a trial to include a time level in the installation
which can be interpreted as a model of the 5th dimension (more about
this in chapter 5). 3. An aspect of economy Regarding the functionality of models Grypstra circumvents demands from an engineer perspective. This does not even surprise because she is an artist. Though this neither means that she is free from economical thought nor from accurateness. The simplicity and the usage of waste material is very well motivated by economical reasons though there are no compromises necessary regarding precision because of this. But it is as it is - her focus is on artistic and cultural functions of the machine which are so fine-tuned that they serve the being looked at without serving a profit-oriented use.This brings Grypstra close to basic research where in corresponcence with artistic innovations but with unbelievably far more elaborate and high technological means procedures are caused that have yet unknown results to anybody. With this we are on both ends of a scale of non-economy that reaches from expensive to cheap. Art and natural sciences do indeed continuously work at the extension of the view of the world but with different methods and in different languages. Points of contact also result here in the area of visualization: whilst natural scientists help themselves from the image languages of artists, artists learn in return to master the technical language. As specialists the latter are able to create something new from the wide historical pallet of sculpture and images 4. In relation to the Bachelors machine Important for Grypstra's work therefor is the point in time - the present, |
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Almut Grypstra
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