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105


KATHARINA BERNDT ALTES KINO ‘CAPITOL


Katharina Berndt’s artwork in the Old Town area of the city was a perfect example of the festival’s commitment to returning some of Ludenscheid’s forgotten buildings back to the public consciousness. The light projection artwork on the front of the for- mer Capitol movie theatre was comprised of colourful images, Berndt’s exploration of the line and its ability to demonstrate abstract narration and animate beings. “The great thing about the medium of light is its immateriality, it is evanescent,” says Berndt. “An entire building unimpressive during the daytime becomes a stage for a short period of time. The most beautiful moment is when I experience a visitor lost in the façade, taken in by the projection and diving into it.”


CUPPETELLI AND MENDOZA NERVOUS STRUCTURE (FIELD)


Located amid the darkness of the Kuh- ne-Factory, a leather goods manufacturer since the late 1800s, Cuppetelli and Men- doza’s ‘Nervous Structure’ was an inter- active projected light artwork, which was comprised of a black wall surface covered with elastic straps. When observers stand in front of the projected lines, silhouette-like shadows begin to appear, their movements actively having an effect on the projec- tion as it ripples in collaboration with the observer, creating a fascinating aesthetic interplay.


KLAUS OBERMAIER DANCING HOUSE


The winner of this year’s LichtRouten Award after garnering nearly twenty per cent of votes cast by visitors who saw it. The pro- jection was installed at the Knapper School and utilised mapping technology, using both photographic images and graphical elements accompanied by a soundtrack of low grumblings and whistles. The school building, 19th century features emphasised


at first, appeared to start to fade away before bursting into a shower of particles, only to reform, its silhouette gyrating and swaying as the structure appeared to struggle to decide whether to stay rooted to earth in its brick form, or to disappear into eternity and burst for good. Audiences were able to interact with the swaying building by jumping up and down, encouraging it to


dance. “In the age of social media expecta- tions, especially of the younger generation, towards art in public spaces is changing,” comments Obermaier. “Interactive installa- tions go beyond passive reception or pure amazement and are creating an immersive communicative experience. Here passive recipients become creative protagonists, jumping in order to communicate.”


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