The Sprengel Museum Hannover, the kestnergesellschaft and the Kunstverein Hannover together present an overview exhibition of the international, contemporary art scene in Germany under the title "Made in Germany Zwei".
The exhibition presents from 17 May to 19 August 2012 about 40 pathbreaking positions of a younger generation of international artists, who live and work in Germany. With this exhibition the three institutions of Hannover continue the successful show "Made in Germany" from the year 2007.
For "Made in Germany Zwei" the idea of "Made in Germany" was advanced by a team of curators of all three institutions: The exhibiton will be curated by all of the three institutions. Many of the artists developped new workings especially for "Made in Germany Zwei".
Interview for the Bienal's Catalogue with Marcellvs L. by Rodrigo Moura.
Rodrigo Moura: You have been shooting film at the beach, on the water, and in other scenarios that you find interesting, such as the city. How do you relate to the locations at which you shoot?
there may be a quest for an encounter. for a horse. for history. for a misgiving. or for a picture. yet each moment gives forth an accident for perception. a mystery, therefore. a place where everything is ajumble. where everything slips. and produces new meanings. the world is transformed tirelessly and inexhaustibly. i can assert new realms of value every moment. they’ll produce meaning on their own. imponderably. regardless of the work statement and the way in which it is carried out. it was windy. in a nearby town i had spotted a chimney belching white smoke. i could no longer find it. coming back i turned onto a street. it was flooded. i came to a halt, observing/taking part in that flowing time. i switched on the camera, creating vibrational spaces. a man waded the flooded street, the camera batteries were fully charged, so i shot a footage. of history. in the present. in the indicative mood, from singular person of the subject to plural verb: i are.
RM: One significant aspect of your work is that it follows apparently strict prescriptions, such as the fixed camera and unedited, single shot sequences per video. On the other hand, you resort to recording effects and manipulate the audio–together with a member
of the band pexbaA–, though still using direct recording for background.
i deafly spot a man fishing. immediate associations come up. as aloof as stars in the sky, we follow our path. we might consider a suppression of the high-pitched and medium sound frequencies. letting the audio come in through the floor. rocking with its vibration. this may arise from the encounter of tide and sand and/or from a specific technical notion. here the camera is not dissociated from computer. i am interested in the physical strength of these combinations. a timing policy that ignores minutes. the tripod that is overwhelmed by subjectivity and loses its footing. all this produces meaning in the course of production. on a bias. mixed. juxtaposed. interrupted. i build a rigid picture. objective. leaning against a boat stuck on the sand. i wait for the rising tide, then gradually surrender all objectivity to the ocean. each method is a different instrument. it’s great not have a regular way of living.
RM: You produce your videos practically alone. You record, edit, copy, and distribute them. What does independence mean to you?
urgency. the ability to admire the beauty of fire. yet coming out scorched. producing with the tools we have is always a possibility. do it yourself. the issue is not to free ourselves from something. but discovering what this freedom is for. every aesthetic act is political and ethical. no matter how small, spontaneous acts assert truths that are more revealing and bombastic than any established system.