|Room of interference III
Short text at the occasion of the exhibition opening on 28.11.2005
I am glad to welcome you to the opening of the exhibition Room of interference III by Hinrich Gross within the project four-rythm-motor of the EINSTELLUNGSRAUM.
The term ,Interferenz' derives from the latin inter / between and ferire/ hit.
In the physical area it means the whole of the appearances of superposition which occur at the occasion of meeting of elec- tromagnetical waves.
As the title of the exhibition Room of interference III hints, Hinrich Gross has been dealing with the phenomenoms of overlapping and shifting which occur at the points of intersec- tion of real space, color space and light space.
Here in EINSTELLUNGSRAUM he shows a two tiered light installation adjusted to the given double story room dispo- siton, in which real space and light space overlap. On the ground floor there is a square area of light which floods the room with its shrill white light. The overlapping takes place between groundfloor and basement, in which the second part of the work, the picture of the area of light, appears as projection on the wall.
On the ground floor we see a BAUHAUS-like, minimalistic light installation on the square tiled floor, put together of nine common industrial lamps, in which the light pipes sit in metall cages and give an even white glaring light. Light which we commonly sense as well as natural light but also as artificial light comming from the direction above, displaced here to coming from below, has ground connection, soil attachment.
When directly looking at the object the eye, the organ for optical perception, will be overwhelmed by the brightness, a physical unsettleness and tension evolve , which forces the onlooker to move around the room, which is on the other hand restricted by the square and by that leads to indirect perception of the light in the room.
Light is the elemental matter, with which everything started off, which means life energy. Special meaning is given the white light, which conveys a hint and sense of spiritual space.
With the enlightenment period congruent is a loss of transzendency of the revelation to experience, - as it was put
words by Werner Hofmann in the
catalog to the
exhibition ,europa 1789' ,- which leaves a vacuum in the secularized
materialized world, and produces the longing for all things spiritual
in art with all ,ifs' and ,buts', as can be noticed in the
in the art of the 20th century ever since Kandinsky.
Light had become the object of research for the natural sciences, eventually defined as electromagnetical wave with experience and separated into its color spectrums. It has astonishing qualities, which express themselves in the diffe- rent light theories. It is linear and direct, can also spread out as waves and als particles. It can exist visible and invisible as well as matter or non-matter. Light is a matter, which exchanges things, but also frees things of matter. It can make object seem and appear- analogous to the emanci- pation of the color in art of the 20th century the light as matter experienced a liberation of its serving, mimical function.
The paths of the light in art lead from Kandinsky via the deep blue color space of Yves Klein, the light-space-modulator of a Laszlo Moholy-Nagy - to name a few only - to the light works of a O. Eliason and to the endless light-dreams of James Turrell. these are always also visions and dreams of the spiritual space.
Several associations are called upon. who would not be reminded instantly of the Black Square of Malevitch when looking at the light square of Hinrich Gross, as well as in Hamburg of the staged lightspace by Gerhard Merz in the stair case of the Kunsthalle (art hall), in shich one though goes upwards and finds then the Black Square on the ceiling.
The second part of the work of Hinrich Gross is in the basement.
The light installation is projected to the facing wall of the room, at the scale of 1:1. a graphical structural 'lichtbild' (light picture) appears when the metal frames of the light fixtures change into non-matter, grey lines and the light tubes, the light, show themselves in colorful tones.
A painted light picture by the machine appears as self referrentiell image on the wall. In contrary to the original object on the ground floor it does not light up itself, but is illuminated by an indirect source of light, a reproduction machine, the projection device.
The difference between picture and image is exposed . with the help of light light is pictured and changed into another one. a play of light and shadow, materialization and dematerialization, change and re-change, is shown.