Video art like in the movies? Why not? Relax and take in everything, listen, think, without distraction – this is not always possible at an art exhibition.
Here, however, you can lean back and be present with all your senses. Between the individual works, you will learn something about how they were created or my thoughts behind them. And of course there is plenty of room for questions and an exchange of experiences.
Where can this take place? In a movie theater, of course – maybe even a historic one? But also in many other places, such as a theater, church, town hall, garden – wherever there are suitable conditions for a video screening!
The best opportunity to find out about a work of art first-hand is to talk to the artist. I am happy to talk about ideas and how they came about, or share little anecdotes. Visitors are invited to ask questions or get in touch with me in a personal conversation.
Idea: I invite visitors to take home their own portrait photo based on a baroque vanitas subject (vanitas, Latin for “vanity”).
What’s behind it? We resurrect the baroque vanitas motif! The audience poses with a skull (-model) in front of my camera and can take the resulting Polaroid – a real work of art – home immediately for a fee.
You pose with a skull (model) in front of my camera.
You choose an individual “wallpaper” that is generated as a background using AI
20 minutes of tension until the Polaroid is developed
The unique piece is ready! A real work of art to-go!
Why? To celebrate life and to smile in an entertaining way about the finiteness of our own existence.
We live in an exciting time when technological developments are gathering pace. Some feel overwhelmed by it, some experiment with it thoughtlessly, and still others are somewhere in between. I try to playfully confront the viewer with it and involve him with simple questions. In doing so, I am primarily interested in making people think and become aware of their own point of view.
The analogue YES / NO votes with children’s toys are low-threshold, are visualised in real time and stand in contrast to the digital overload.
This is also the case, for example, in the work Deep Paula: the viewer is confronted with an old photograph that has been animated with the help of an AI application.
How “real” does that feel? Is it useful? What does this artificial liveliness still have in common with the real human being behind it? And what would “Paula” herself have said about it?
Would you be willing to bring a photo of a deceased loved one to “life” with the help of an AI application?
Comfort zone? Fear of contact? Encounter! In September 2016, the DieZ opened – the Diedorf Centre for Encounter. Many courageous left their comfort zone and overcame their fear of contact in order to be to be photographed by me and under my guidance.