In his work Sphäre 315, one four-millionth of the Earth’s diameter, Hartmut Skerbisch bolts together six circles, each scaled to the next by the golden ratio and thereby appealing to beholders’ sense of harmonious balance.

Hartmut Skerbisch once said that “sculpture is not a discipline of the fine arts.” So what is it?

for silken bags filed with rice

With the exception of basic conditions, our relation to the physical world does not seem to be determined in itself.

The 4 theorems of Edition K

The manifestation process of the character K relates in various ways to the manifestation of sculpture, conveying a vague feeling of its origin, where it is our very own instrument of relating to concreteness.

In terms of physical presence, the Statue of Liberty in the New York Harbour stands as a human figure of roughly twentyfold life-size.

“Ineluctable modality of the visible: at least that if no more, thought through my eyes.”

James Joyce, Ulysses, l/3

Wall frieze and floor-to-roof pane. Tools of basic opening, so that the exhibition space is also placed into the open and each element is set free, expressing itself.

In an exhibition space two beamer groups beam their light at each other.

SELF-IMPORTANT

NOT SELF-IMPORTANT

The basic definition of sculpture as an absolute Vis-á-Vis led tot he isolation of a crystal chandelier from a series of chandeliers oft he same typ by means of a steel tunnel.

The relationship of a work to a theme, whenever it is part of a theme exhibition, can only consist in the work being viewed with an attitude

The atmosphere where wasp nests are built, pidgeon droppings accumulate and

Manifestation like a higher play. „In its enactment, this scene should be as much imagination as reality”,

Draft Through the Hall, appearance of golden yellow flags on iron poles, leaden tables stuck in heaps of coal. Process of materials for Myths of the Future.

„To take the spirit as it is: as something welling up, blossoming, coming ton o results. In the end, this leads tot he utopia oft he other life.“

Robert Musil

M o E, Moral und Krieg, sketch sheet

The play starts with the stage set: It turns out that the reserve sides are also front sides

with Michael Schuster

Workshop, Final Presentation
 

A projection stage, accessible from all sides. On it, projectors and reflecting media:

with Michael Schuster

1. Wall-to-wall video projection (Sony VPH) of a Kodachrome slide frame.

with Michael Schuster

Obviously we could find out about it through a photographic image or this text. The play could be running at the local playhouse

The current product of the monitor as a production unit, from the smallest particle to its totality,

A One person holds before him, at chest level, two white flags,

Moment after moment the qualities of the most varied points of the world are falling, as instrumentally registered data,

As the last and ultimate enhancement of a library, the two „When we” sentences appear on the wall in bold letters as a mural.

Entering exhibition rooms like one enters an enchanted castle.

Referring to the diverging views of Ludwig Wittgenstein and Oswald Wiener about the relationship between image and reality

Upon leaving a Piet Mondrian/de Stijl restrospective, the visitors find the foyer changed.

A On a monitor in front of him on the floor, a person observes a section of his own breathing chest

In the foyer, visitors at the opening find a cube of white linen, closed on all sides, with the inscription: