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I wanted to do things, and to try things out I developed pieces for outside. On the one hand, also because I was interested in the reaction of people that have nothing to do with art, on the other hand because I think it worked perfect for some of the sculptures.

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Its is best when there is as much contrast as possible in between the piece and the place where it is installed. When it began that I was invited to do shows in galleries, confronted with the white cube, it became difficult, because I wanted to have a similar quality like the outdoor pieces. For me it was not enough just to show the photo or video documentation of the outdoor pieces in the galleries.

I had to change my way of working because I really want to make something for this space with a physical impact. And it spreads out and everything starts to smell like it. In this sense I think a lot of pieces are very personal portraits of people actually Can you tell me bit about the reactor works? Modell — Reaktor Model — Reactor , for example, is a cube of concrete. What happens is that the piece picks up the vibration of the floor.

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If there are a lot of people walking through the space, a truck passing by outside, or actually a subway running below the building, then it just amplifies the vibration of the building. It creates a sonic image of an architectural space.

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Reaktor Reactor is the piece I made for my degree show at art school in Munich in It was positioned in the staircase next to the entrance. The sound it made was very low frequency, you could really feel it in your stomach throughout the whole big building. Important is to make the connection between the occupants of the building and the structure itself, between the soft and hard architectures—if you want form and content. I wanted to make that connection in some way tangible.

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In some ways it seems that you are doing something similar with architecture and creating out of its resonance a new poetics of space. And the sound is becoming really physical so you can really feel it in your stomach. You feel it more than you actually hear it. I am very fascinated by his phenomenological view on architecture and life. It is very much about the personal experience of space Raum.

For example a soldier and a tourist arriving at the same beach both sample totally different realities because of the disparate missions they have in their heads.

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The tourist is there to relax and hang out, the soldier to conquer the country. An extroverted person uses a big space while a shy person uses very little space, sometimes even less than he physically measures. So one possibility is the use of television to reach a big crowd. Another possibility is the use of a lot and strong perfumes. And I think the reactor pieces are doing something very similar. Anna is a portrait of a girl. Is that true of the reactor pieces as well, albeit in a metaphysical sense? What we said about making the invisible visible is also my description of the piece.

Are they done as experiments?

Or do you know what you are trying to achieve? Sometimes I know, sometimes not. I was casting another piece, and had some leftovers of concrete and also a microphone in the studio, and put the microphone into the concrete because I simply thought it looked good. Half a year later I found the cube with the concrete and the microphone in it again, and I connected it to a speaker. It was a very deep drone and then I decided to walk around and jumped around on the floor, and it started to change. And then, I was thinking about this link between phenomenology and metaphysics and was wondering whether that applies to the underwater pieces and whether you could speak about them a little bit.

How did they come about? This freed me up and meant that I could just throw the pieces overboard—literally—and then it became another piece. The second thing that I really liked about the idea was that the pieces were spread out all over the globe—lost in the oceans like pieces of a pirate treasure sunken on the bottom of the sea. So I would throw the sculptures overboard, and right after, I sent the diver down and he takes documentation but the sculptures remain installed on the ocean floor in the place that they landed, and the only thing remaining is actually the documentation of the pieces and the GPS data of where the pieces are.

In a way, it seems to be doing maybe what the reactor pieces are doing, but in a slightly different way. Recording the effects of ambiance on a sculptural body. There are similarities to the reactor piece. Log out of Readcube.


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