Archive for the ‘3D’ Category

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TEXT


The heads of Jeff Bezos, Mark Zuckerberg and Elon Musk fuse into one creating a singular entity named “Three headed Hell CEO”. HEIDEGGER’S VALLEY OR TECHNE & THE 3 FOOLS unfolds with such strange representations, as the CEO is joined by Techne, a kind of assistant embodying technology itself. Techne subsequently argues that CEOs next expansion of Silicon Valley units shall delve into the South of Germany. And with this Techne goes on a scouting journey encountering the Swabians, an engineering folk with a strange adversity towards the technological revolution this world is undergoing and yet with such a proud tradition of innovative thinkers, combined with absurd festivities like South Germany’s oh so beloved carnival. Techne encounters three fools of carnival ironically dancing to the US-rapper Future’s song “Mask off” while dressed head to toe in bizarre costumes. 

Humans thus far have mostly resorted to hierarchal orders of society. An order that is countered by the festivities of carnival, that, as the Russian philosopher Mikhail Bakhtin argues, is a “temporary liberation from the prevailing truth and from the established order.” A notion that calls Techne’s servitude into question and is mirrored within the strange conversation she has with the fools, who speak in a heavy Swabian dialect. Techne barely understands. Consequentially, Techne seeks a deeper understanding of language and finds the philosopher bot Hightekker, in the form of the glitching bust of Martin Heidegger himself, speaking in fragments of sentences and philosophical ideas. An overwhelming conversation unravels exposing all the layers that lie beneath Techne’s quest.

As such figures disappear and reappear, they proliferate an entanglement that poses a streak of questions relating towards notions of humanity, subjectivity and being. Is the carnivalesque an inherently human understanding of being? Do Heidegger’s ideas of technological innovation withstand the test of time? To which extent is language a lens through which we can understand the human and inhuman relations between tradition, technology and the future. All this while rapper Future’s chorus rings through the work: “Mask on, fuck it, mask off”. Who shall take off their mask in order to answer to Techne’s search for truth? The fools? The algorithm based Hightekker? Is it her own mask of friendly faces that must be taken off, bursting the bubble revealing the true nature of technology? Or perhaps is it the CEO puppet of capital’s mask? The video game aesthetics of his introduction may offer a subtle hint towards what may lie behind his appearance, as his passion is described as “profit” and his drug as „3x testosterone“.

by Heiko-Thandeka Ncube




INSTALLATION SKETCH EXAMPLE





PUBLICATION

Accompanying the work will be a publication. In the book/catalogue, the page numbers will be replaced by the time code of the video. In this way, the book/catalogue can be read simultaneously with the video. Here, all references and backgrounds of the film are once again broken down in detail and expanded by new reference levels.


RANGDA

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RANGDA

 

 

costume in cooperation with Svenja Gassen

SPLINTER

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SPLINTER

 

safety-glas, wood, light

ongoing series

WIE SICH DER KLEINE MORITZ DIE WELTGESCHICHTE VORSTELLT

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WIE SICH DER KLEINE MORITZ DIE WELTGESCHICHTE VORSTELLT

 

2017

c-print, alu dibond

size variable

THE KNIFE

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THE KNIFE

 

2017

 

knife, wood, steel, electrical-components

120 x 30 x 30 cm

ANTI SOL

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ANTI SOL

 

2011

 

forex | light | 250 x 250 x 250 cm

 

Anti Sol is science fiction and mysticism, proportion theory and conceptual art. Like the black monolith from 2001: A Space Odyssey, Anti Sol appears to stem from another world, weightlessly suspended in space. The object‘s flashing lights signify a Morse code in a strange and foreign language, communicating with the observer without providing the key for decryption. The sculptural piece Anti Sol is a formally distinct entity, suggesting a narrative element.

As a sculpture, Anti Sol refers to the Cube installations by Sol LeWitt. Moritz Stumm transfers the physical grid-like properties in Sol LeWitts sculptures into the medium of light. For this purpose the empty spaces in LeWitts constructions are replaced by black solid planes. Four light sources radiate from the interior of the cube through the visible grids. The resulting patterns of light survey the dimensions of the space surrounding the cube and extend the sculpture into its environment. The light emanating from Stumms sculpture pervades its surroundings and creates a visible relation between the dimensions of the room and the size of the observer. The light intertwines the proportions of the surrounding space with the proportions of the sculpture, which are again proportionally reflected in the size of the observer.

 

THE IRRESISTABLE APEAL OF CAR CRASHES

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NEGATIVE ANTI SOL

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NEGATIVE ANTI SOL

2014

300 cm  300 cm  300 cm  | wood  | LED-Stripes | lacquer

Negative Anti Sol destroys perception, overloads the senses. It‘s a space pod that pierces its structure into the interior of the observer‘s eyes, strikes lightning onto the retina und burns itself in as an afterimage. The stroboscopic phantom images freeze fractional moments in time, blur what was clear and eventually make it disappear in a perceptional vortex.

 

Negative Anti Sol contains a dual transformation, a repeated negation. The installation cites Moritz Stumm‘s own work Anti Sol (2011), which itself refers to the Cube sculptures by Sol LeWitt. The process of inversion – negating the „Anti“ version of LeWitt‘s sculpture – creates a cube that‘s secluded from its exterior surroundings with a walk-in accessible interior. Once inside, you enter an alien reality, in which the laws of time and space are broken. Where light escapes to the outside through the grid-like structure of the sculpture Anti Sol, the same structure permits light to enter the interior of Negative Anti Sol. Where Anti Sol extends its form into its surroundings, Negative Anti Sol projects its pattern into the interior of the observers mind.

 

The dimensions of space in relation to the human form are a crucial element of this work as well. The somewhat confined dimensions of the interior induce a direct enclosure by the structural grid; it even seems to physically engulf the bodies of visitors inside this alien space capsule. As well as referring to the sculptures of Sol LeWitt and Stumm‘s own work, Negative Anti Sol also cites impressions from popular culture and science fiction. Among other things, it suggests the Holodeck from Star Trek, images from Tron, and various techno music album covers from the early 90s era.

 

SPLINTER | FIST

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SPLINTER | FIST

Safety glass | lacquer | neon tube | 100 x 100 x 100 cm | 2013

The sculpture Splinter/ Fist refers in its reduction to minimalism, but at the same time awakens associations with rioting and vandalism.

THE REVOLUTION WILL NOT BE TELEVISED

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THE REVOLUTION WILL NOT BE TELEVISED

 

2016

TV-screens, steel, wood, electvrical components, size variable