The stillstand in the relativity theory This view, introduced by the relativity theory in the 20th century, has led to a paradigm change in regards of time. Even though we can reach 'only' relatively low speeds in space with vehicles produced by human hands the Futurists transferred the relativity theory to terrestrial speeds of motor vehicles and from that concluded the prevailing destruction of time and space. Light speed won importance however on immaterial level where it has been used ever since the 19th century in data transfer by the wireless telegraphy which is the basis of today's wireless communication nets  that have information traveling in them in light speed.  In this sector the mastery of light speed - which is seen as absolute speed - is perceived as divine might because it potentially allows a simultaneous presence at different places. The light speed allows to dissolve boundaries of the senses and thus the total overview of world events when at still stand of time at light speed immortality  lies. Here braking gets a completely different meaning than it has in daily experience; because in the area of light speed where the process of aging is stopped every braking would mean the return to "Herrschaft der Vergaenglichkeit" (realm of transience), a statement of Steckhan. This means that the essential part of life is re-applied with its infinity requiring the finiteness of individual beings because dying is one of the predispositions for continuation of the biological chain of life. Shortly said: When I philosophize amateurishly here beyond borders of faculties  I get closer to a world of transience with the help of the  term 'braking'. In  art this connection emerges with Futurism that picks up the progress ideas of modernism  but extends its horizon to the unconscious thus the freight of our biological and cultural past.  The Futurists contributed decisively for the metaphors for depiction of 'time' to become anchored in the relativity theory. Because the latter has been connected with the cult for speed it becomes clear why people obviously are intoxicated  by the feeling to become immortal  in an accelerating environment. This is the myth of motor sports up to today even though there is the real challenge to one's life. Indeed relativity theory is banalized  and made to an ideology but its deployment	as metaphor attests that speed is equated with power these days  and that braking seals transience. So it is also about implementing this insight to break through the myth of power by speed and to learn to accept again life and death as the two sides of a coin. A jump through 'Ereignishorizonte' (horizon of event) Even though we are far from the racing track here these images claim space for thinking that is deviated from it namely speed which we have to consult in order to understand their complexity and to comprehend their range. For the world of overstepping of borders between times and their materializations we can see another if not the most fitting example in the underworld of the house. There in the basement of the 'Einstellungsraum' is another trophy installed. The levels of acrylic glas, photo and plastic composition down there in the low ceiling cellar are even more explicitly mounted like a cloth than the objects up here; on the cloth becomes visible a winged human swimming in the opaque lilac in-between the walls which are blackened by carbon dust. The image with the title "Ereignishorizont" shows a floating human in water who when transitioning from air to water  has pulled along with him air bubbles like an aura  and has decelerated heavily  in the denser element. The coarseness, which is underlined by the printing technique, dissolves the air bubbles and the color gradients  in the dark water into pixels. Here breaking as negative acceleration comes into effect also as image topic. This moment is a physical breaking procedure which we experience as momen- tary floating or stillstand. Lets think back to a summer day at the poolside when a child does not want to stop to repeat jumps into the water to enjoy those brief fractions of seconds floating in the air and the impact witht eh breaking in the water. These moments are perceived as so enjoyable because they bring to mind a transition that suggests stoppage  in time that is no stillstand on the again but a by that experience mentally intensified perception of space an time.   I would like to name the phases of the cycle when jumping into water one after the other so that the basic character of it becomes
	Vernissage
Supported by the cultural department of Freie und Hansestadt Hamburg and district office Wandsbek
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