The Space That Time Forgot

Angela Bulloch
February 16 – May 18, 2008

Electric Wire Drawing: P.S. Hexahedron (floor, with points), 2008 (detail; front)

Electric Wire Drawing: P.S. Dodecahedron (hanging, no points), 2008 (right)

Last Year Again, 2008 (center)

 

Photo © Carsten Eisfeld

Last Year Again, 2008

Synchronized double projection, digital video animation

3´06´´

 

Projected on two sides of a freestanding rectangular wall is the image of a revolving planet Earth. The animated rotation of the planet appears to be strangley out of control, its movements inexplicably changes back and forth. The two halves of the round shape are cut apart so that the viewer has to switch place, moving back and forth between the front and the back of the wall, in order to connect the two images to a whole round.

 

Photo © Carsten Eisfeld

Z-Point, 2001/2004 (left)

48 plastic pixels, DMX module

Soundtrack by David Grubbs

 

The last eight minutes of the Film “Zabriskie Point” by M. Antonioni, where actor Daria Halprin’s imagination causes a luxury house in the desert to explode, are pixeled one image per second of film. 8 minutes are reduced to fractions of a second, with the result that the visitor experiences the scene as a colour-and-light happening to create an image, which can barely be grasped or perceived. The work consists of a freestanding 48-unit Pixel Box wall in the 3:4 proportions of 35mm films.

 

Photo © Carsten Eisfeld

Progression of 8 Perverted Pixels, 2008

7 DMX modules, 1 Black Box module, plexiglass, aluminum, DMX cables, RGB lightning system, DMX controller

 

Starting out from a regular cubic pixel – a signature formal element of Angela Bulloch’s artistic language, which she has used widely in the past, in various different ways – the series of interconnected objects unfolds as a strange perversion of this basic element. The progression gradually transforms the regular cube into a complex irregular polyhedron. The cube as the supposed end result of modernist strategies of formal reduction and purification appears to undergo a reversed complication. 

 

Photo © Carsten Eisfeld

Progression of 8 Perverted Pixels, 2008 (detail)

 

Photo © Carsten Eisfeld

Progression of 8 Perverted Pixels, 2008 (detail)

 

Photo © Carsten Eisfeld

Z-Point, 2001/2004 (left)

Progression of 8 Perverted Pixels, 2008 (right)

Electric Wire Drawing: V Point (lime, wall to wall to wall), 2008 (back)

 

Photo © Carsten Eisfeld

Electric Wire Drawing: P.S. Dodecahedron (hanging, no points), 2008 (left)

Electric Wire Drawing: P.S. Icosahedron (hanging, no points), 2008 (center)

Electric Wire Drawing: P.S. Octahedron (floor, with points), 2008 (right)

All works: wire frame, bright white electroluminescent cable, inverter

 

The sculptural drawings are made of electroluminescent wire. The drawn line acquires a three-dimensional presence, the materiality of which is transformed into a purely visual phenomenon. The luminous wire demarcates the outline of each shape and creates the illusion of solid volumes, where the viewer knows that there is nothing but mere stretched out lines. The series comprises five different platonic forms, which form the core structure of each object.

 

Photo © Carsten Eisfeld

Electric Wire Drawing: P.S. Icosahedron (hanging, no points), 2008

 

Photo © Carsten Eisfeld

Fly Over Genoa, 1992/2008

Digitally remastered Hi8 video, Mac Mini and video projector

 

Photo © Carsten Eisfeld

From back to front:

 

Electric Wire Drawing: V Point (lime, wall to wall to wall), 2008

Progression of 8 Perverted Pixels, 2008

Möbius Night Sky Model: Mark I, 2003 

 

Photo © Carsten Eisfeld

The Space That Time Forgot

Angela Bulloch
Kunstbau, Munich
February 16 – May 18, 2008
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The exhibition The Space That Time Forgot is Angela Bulloch’s first solo exhibition in Munich. The artist offers a constitution creating a multiplicity of spaces by using different mediums – at the same time isolated from and overlapping by each other. All of shown pieces will be especially produced for the challenging exhibition space of the Kunstbau. A three-dimensional time-based representation of a two-dimensional image of planet Earth, as well as a large wall mounted computer processed LED installation, showing an extraterrestrial night sky, project a point of view back into the exhibition space which is always beyond the one taken in by the viewer. Time and space are always doubled, constantly oscillating between here and a no less indistinct there. An ensemble of architectural structures at the back of the exhibition space apparently cite a modernist idiom – an architectural language - while it denounces at the same time any specific designation, function or style. The site is an historical one, yet the modernism it refers to, is at the same time neither its presence, nor its past or future.

 

At the same time the complete Kunstbau becomes a starting point for a room filling sound installation that is overlapping the single parts. Speakers mounted at the columns are structuring the space along the middle, and run all along from its front to the back: a topologically structured raster made of sound sources, which acoustically produce and redraw the architectural space they are part of. A flock of sounds is moving between the speakers through the space and constitutes it in a new way. The viewer and its presence is no longer moving around objects, but is always already part of a physical movement of sound: atmospheric pressure versus time.

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