034 REPORT
‘4D Light + Sound’ Bangkok 2009 © Philipp Geist 2011 / VG-Bild-Kunst Bonn.
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an installation project I presented in Vancouver, Montreal, Eindhoven and Berlin, I interpreted the themes of space and time. I avoid using canvasses and project directly on parts of the façade surrounding the plaza, on the ground, on windows, and on fog streaming into the plaza. Words are projected onto the ground, and they are reflected into the fog. Fog is, similar to time, always in a flux, you cannot hold or keep it. The dissolving projection symbolises the fragmentary knowledge and understanding of life in the past and present, but knowledge is also secured and preserved in the form of text, clearly visible on the concrete. The representations of history are being animated in the moment of the visitors reflections. The dissolving projection symbolises not only the fragmentary knowledge and understanding of the life in the past, which is to be completed, but also the memory which must be saved from disappearing and dissolving. Thus, developing a dialogue with the location, ar- tistic work and the people who are entering and leaving the plaza. The visitor himself becomes part of the projected image.
How would you describe your style? I would say that I’m a painter working with different mediums and lights. My different mediums, like photo works, video installation, audio / visual live projects with musi- cians, and painting, are connected with each other. Everything is based on my visual language. One of my themes and the biggest issue of my installations and photo works is the phenomenon of time and space. For my installation titles I often use the term ‘time’, like Time Fades, Time Lines, Broken Time Lines, Lighting up Times... I also create a pictorial, abstract imagery by drawing and painting with the computer, a process which refers to organic-microscopic structures, physical processes and growth in general.
My video installations are displaying depth and three-dimensionality, the work symbolises the constantly developing, enlarging space of a continuing time line, and represents through multiple layers and depth the complex networks emerging from different spatial components spreading in the course of time. Geometrical, spatial
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forms, like squares, cubes, perforated planes, lines and rays, overlay each other in an ongoing process and build up a complete picture in order to dissolve it right away. The various elements create a complex architecture of images which is always in a state of flux.
How important is technology to delivering your art? For the video installation, the technology takes up a strong and important part - without good and professional technologies I couldn’t present my video installation works on such a high level. Therefore the technology and the art goes hand in hand to enable me to develop outstanding concepts. If the technical part failed the instal- lation could not work out. In the end it is necessary to work with high level technical rental equipment or technical partners.
Can you give some examples of equipment that you use, and explain why? My biggest installation was definetely the huge project for the Thai King Bhumibol in 2009 - more than two million visitors saw my installation at the Throne Hall in Bangkok. Therefore I was working with four 30k Barco video projectors. The devel- opment of the artistic part took several months and also the technical setup on-site took weeks. For my video installation in the centre of Rome at the contemporary museum Palazzo delle Esposizioni, I worked with three 20k video projectors. For the installation Time Fades in 2008 in Berlin and in Vancouver and Montreal I also used large slide projectors from PANI to create a large scale ground projection with words about time. I also work with fog to create a temporary projection of words in the air (the words linger in the fog and vanish a moment later, being metaphoric for the passing of time itself). Apart from these huge projects, I also developed small instal- lation projects at interesting and special places. It is also nice to remember a small installation named ‘Broken Time Lines’ in a ruined building in Ahrenshoop at the Baltic Sea, shortly before it was pulled down. And the installation ‘Liquid Memory’ on the ruins of a former Minorite cloister in Oberwesel, Germany.
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