|
P A R
A L L E L M E D I A – Hofstetter
Kurt
| Barbara
Doser
tense_intense
Exhibition 21 | 9 |
2023 – 21 | 1 |
2024 MUSEO
CARLO BILOTTI, Villa Borghese Rome
> Exhibition english | italiano | deutsch notes on the artistic work A Star Is Born. Through the work of Hofstetterkurt there is now a well-founded hope for a new and really efficient power of theoretical objects. He is a master of the métier of theoretical art. Even in his early works, collected under the concept of pendular movement, he combines recurrence and uniqueness, or periodicity and aperiodic structures and, like his mathematical colleagues of the same generation, subdues the bourgeois fear of chaos, by making the developmental logic of chaos manifest. Bazon Brock, Absurdity per se: Finite Infinity Hofstetterkurt as a Magician of the Irrational,i.e. of Theoretical Art, in: Phillip Konzett (Ed.), Hofstetter Kurt: I look up to the sky to ground myself, Vienna 2021, p. 293. Barbara Doser decides to dedicate the backward third movement of my acousmatic composition ZART – una cantata moebius to aspects of becoming and being human. With ADA (2011) she succeeds in visualizing these aspects by means of an intuitively familiar vocabulary of forms and thus making them accessible to the recipient. The human voices interwoven in my abstract music also promote interpretability. The situation is quite different in Barbara Doser’s video work Three Graces, grazie tante (2018), which also originated in 2011. Here, the semantics of synaesthetic music are replaced by abstract objectivity and a title that creates concrete images in the mind in order to convey content: "Social norms and constructed gender stereotypes manipulate the individual and their freedom to manifest hierarchical structures in society." Hofstetter Kurt, work notes, Vienna 2023. (…) I have not seen such a work made by the feedback system for a long time since 60s and 70s, (…) your works are more purely concentrated in the geometrical poetry with a beautifully matching sound (…) more clean and penetrating to the mind of audiences, indeed like the Haiku. Itsuo Sakane, Tokyo 2005 Itsuo Sakane, in: Two Congruent Zero (Ed.), Barbara Doser: Video Feedback – Lyricism in Patterns of Light, Vienna 2010, p. 150. Barbara Doser uses the term experimental to indicate the fact that her videos are the result of experiments with video feedback, which she uses very specifically in the sense of her visual imagination. She sees herself primarily as an artist and not as a filmmaker. It's not the medium of video itself she is interested in. (...) It is the video technology and the imagery inherent in it when a video camera is connected to a monitor, to which it is simultaneously directed, and a video feedback process is created. The result is an abstract image without the character of an illustration. Detached from representationalism, a new reality becomes clear, in which only the art object per se seems to exist. (The video installations ADA and dreams’dreams are examples of this.) Wolf Guenter Thiel, Bewegung – Zeit – Gleichzeitigkeit, in: Two Congruent Zero (Ed.), Barbara Doser: Video Feedback – Lyricism in Patterns of Light, Vienna 2010, p. 108. A composition that refers to the Möbius strip reminds one of twelve-tone music and its techniques of inversion and symmetry, because it can be played both forward and backward. However, it goes further, because it not only follows the directed graphs of the temporal vector but also a spatial vector that knows neither forwards nor backwards. Forwards is also backwards and vice versa. In basing his Möbius Cantata ZART on topological methods, Hofstetter Kurt has become a pioneer of future space-based acousmatic music. For a music that knows neither past nor future, neither backwards nor forwards, and which is therefore not subject to time as is the usual interval-based music, the only temporal form that remains is that of the present moment. Peter Weibel, Music, Mathematics, Space, in: Ed. Kiesler Foundation Vienna,Two Congruent Zero (Ed.), Hofstetter Kurt. ZART una cantata moebius, Vienna 2010. en abime. The images Barbara Doser produces plunge into their own abyss. And into ours. We experience an uncompromising precision in both: the conditions of the material’s recording/analysis and – not synchronous but very much simultaneous – lyric movement and something indescribable that manifests itself immaterially as an interlace in the space and time of perception between the monitor and the eye: visual maelstrom. Hypnosis, colour perceptions, circling breath. Silence. (...) And then there is this acoustic carpet, which fuses with the visual suggestions until we hear images and see sounds. All this can (possibly) be described with utter precision: but the pulsating en abime – fall into our own depths of experience holds a secret that reminds us of a fragile beauty that hurts. Birgit Flos, sixpackfilm product sheet on the video even odd even, Vienna 2004. His works are diverse and varied, but also display great concentration and unity. Their subject is time and space, parallelism and circulation, that Hofstetter approaches in a manner that is at once inquisitive, playful and scientifically precise. In the meantime, Hofstetter Kurt can boast an internationally recognised body of artistic work, for which he was awarded the Austrian Art Prize for Media Art, a national prize of the Republic of Austria, in 2020. He is the artist who realized Austria’s first permanent video computer art installation in public space in 1993: Planet of the Commuters with the Three Time-Moons at the station Wien Mitte (Vienna). To this day, that complex installation still involves people – unasked and on the spot, in their time-controlled physical presence and ritual activity – in a work of concept art to be discovered virtually as time information in the Hofstetter Pendulum Clockworks. Peter Weibel, a key figure in international media art and theory, speaks of it as a pioneering achievement. Philipp Konzett, Editor’s Foreword, in: Philipp Konzett (Ed.), Hofstetter Kurt: I look up to the sky to ground myself, Vienna 2021, p. 5. |