Martin Müller: Difference between revisions

Latest revision as of 18:06, 26 April 2022

καλὸς κἀγαθός (“good and sublime”) is the ancient greek describtion of the ideal man. He combines his well-trained body with an excellent mind. He is #beautiful #athletic #sophisticated. He is ready for combat at all times, for his body and mind are potent. You can find him carved out of stone, kept for eternity – but also in the eternal stream of images on Instagram.

Under the title #OMGuSoMasc I started an artistic research about concepts of masculinity and aesthetic modes of representation that are tethered with them. The research seeks a critical deconstruction of those aesthetics, beginning at the origin of western male body representation with ancient Greek sculptures and building a bridge towards today‘s instagram feeds. Out the frame of #OMGuSoMasc several photo and video works and a performance emerged.

With static photographic collages I began to fragment body parts and overlay them towards infinity in ironic and destructive manners. Now I am looking for ways to translate those modes of fragmentation and superposition into something more haptic, materialized, and lively.

https://www.instagram.com/kalos_kagathos/

In the next step I want to translate those virtual representations back into something corporeal and haptical. I started this re-translation with two different approaches. The first one tries out three dimensional experientiality, still bound to virtual space. The following experiment emerged from my contact with the means of virtual reality:

The second approach - the one I am currently working on - aims at a translation into actual space. I am building a performative installation. Or rather, I am half growing, half building it... The installation will have an organic feel, reminiscent of human bodies and will foster my practice of deconstruction. Sensors, micro controllers, and micro motors help the installation to come to life and react to its environment. As long as everything else in the encompassing space is absolutely still, the installation performs organically fluid movements. However, the moment another being enters the space - and as long as the other moves - the installation will stop and remain still. Only if the space is free of movement the exhibit gets mobile again.

The outer shell of the installation will be made of a leather-like material: dried and treated SCOBY. This organic material, originally more of a waste-product left over from the production of Kombucha has a robust, skin-like but also translucent quality. It gives the installation the air of something natural, anatomical, living but at the same time reveals its mechanics, if you look closely. However, since growing the SCOBY in big patches and big quantities can be somewhat delicate and takes time, I do not have enough material yet for the construction of the installation. Nonetheless I did a first experimental tryout of a kinetic sculpture using fabrics as a sort of sketch:

The following pictures should give an impression of what the final material will look like.

Influences:

KOMBUCHA LEATHER

https://www.behance.net/gallery/82760205/Kombucha-leather

YING GAO

https://vimeo.com/yinggao/flowingwater

http://yinggao.ca/interactifs/flowing-water-standing-time/

DOREEN GARNER

https://www.artforum.com/print/reviews/201802/doreen-garner-and-kenya-robinson-73687

https://halle-fuer-kunst.at/ausstellungen/doreen-garner-steal-kill-and-destroy-a-thief-who-intended-them-maximum-harm/

GORY ORGY INC.

https://twitter.com/GoryOrgy_/status/1488445303393222656

https://www.instagram.com/goryorgyincorporated/

@@ Line 1: / Line 1: @@
-With my project I aim at adressing the issue of dwelling in the unbreakable bubbles of different Umwelts. At the same time I am strongly interested in finding ways to question hierarchies that are manifested between the human and the non-human.
+----
-I want to provide the space for a non-human organism (probably physarum polysephalum) to grow – preferably a whole room will provide the medium for it. The goal is to investigate to what extent the organism can open up towards me and to what extend I can open up towards the organism, to make our bubbles overlap.
+''καλὸς κἀγαθός (“good and sublime”) is the ancient greek describtion of the ideal man. He combines his well-trained body with an excellent mind. He is #beautiful #athletic #sophisticated. He is ready for combat at all times, for his body and mind are potent. You can find him carved out of stone, kept for eternity – but also in the eternal stream of images on Instagram.''
-The spreading of the organism in the space will be captured (preferably) in 360° and then made accessible as a VR Environment. Via the two modes of perception of the space – as physical and as virtual environment – our situatedness in an Umwelt, that is always framed in a certain way, is emphasized. I want to find out what it means to experience the same space, inhabited by the same organisms in two different modes of perception at the same time.
+----
-An idea yet to be evaluated for practicality is the presence of my body in the room. I might rehearse ways of confrontation of my body with the organism. Also in order to question modes of control between me, as a human, and my non-human co-performer I want to research about the organism’s needs to survive and its sources of nutrition. Could it potentially eat me?
+Under the title '''#OMGuSoMasc''' I started an artistic research about concepts of masculinity and aesthetic modes of representation that are tethered with them. The research seeks a critical deconstruction of those aesthetics, beginning at the origin of western male body representation with ancient Greek sculptures and building a bridge towards today‘s instagram feeds.
+Out the frame of #OMGuSoMasc several photo and video works and a performance emerged.
-[[File:Conception_graphic.jpg|700px]]
+With static photographic collages I began to fragment body parts and overlay them towards infinity in ironic and destructive manners. Now I am looking for ways to translate those modes of fragmentation and superposition into something more haptic, materialized, and lively.
+[[File:mueller_06.JPG|240px]][[File:mueller_08.JPG|240px]][[File:mueller_10.JPG|240px]]
+[[File:20200410_124443_950.jpg|360px]][[File:20200325_220939_249.jpg|360px]]
+[[File:20200329_000241_577.jpg|360px]][[File:20200401_120727_569.jpg|360px]]
+https://www.instagram.com/kalos_kagathos/
+In the next step I want to translate those virtual representations back into something corporeal and haptical. I started this re-translation with two different approaches. The first one tries out three dimensional experientiality, still bound to virtual space. The following experiment emerged from my contact with the means of virtual reality:
+{{#ev:vimeo|694613174}}
+The second approach - the one I am currently working on - aims at a translation into actual space. I am building a performative installation. Or rather, I am half growing, half building it...
+The installation will have an organic feel, reminiscent of human bodies and will foster my practice of deconstruction.
+Sensors, micro controllers, and micro motors help the installation to come to life and react to its environment. As long as everything else in the encompassing space is absolutely still, the installation performs organically fluid movements. However, the moment another being enters the space - and as long as the ''other'' moves - the installation will stop and remain still. Only if the space is free of movement the exhibit gets mobile again.
+The outer shell of the installation will be made of a leather-like material: dried and treated SCOBY. This organic material, originally more of a waste-product left over from the production of Kombucha has a robust, skin-like but also translucent quality. It gives the installation the air of something natural, anatomical, living but at the same time reveals its mechanics, if you look closely.
+However, since growing the SCOBY in big patches and big quantities can be somewhat delicate and takes time, I do not have enough material yet for the construction of the installation. Nonetheless I did a first experimental tryout of a kinetic sculpture using fabrics as a sort of sketch:
+{{#ev:vimeo|672691192}}
+''The following pictures should give an impression of what the final material will look like.''
+[[File:1650918237963.jpg|360px]][[File:1650918237881.jpg|360px]]
+[[File:1650918237875.jpg|360px]][[File:1650918237959.jpg|360px]]
+{{#ev:vimeo|703398202}}
+----
+''Influences:''
+'''KOMBUCHA LEATHER'''
+[[File:53440c82760205.5d27335b66949.jpg|400px]]
+https://www.behance.net/gallery/82760205/Kombucha-leather
+'''YING GAO'''
+[[File:39_3graydetail.jpg|400px]]
+https://vimeo.com/yinggao/flowingwater
+http://yinggao.ca/interactifs/flowing-water-standing-time/
+'''DOREEN GARNER'''
+[[File:article_810x.jpg|400px]] [[File:2021_09_01_halle-fur-kunst-steiermark_00479_web.1200x0.jpg|210px]]
+https://www.artforum.com/print/reviews/201802/doreen-garner-and-kenya-robinson-73687
+https://halle-fuer-kunst.at/ausstellungen/doreen-garner-steal-kill-and-destroy-a-thief-who-intended-them-maximum-harm/
+'''GORY ORGY INC.'''
+https://twitter.com/GoryOrgy_/status/1488445303393222656
+[[File:Screenshot (9).png|300px]] [[File:goryorgy11.png|300px]]
+https://www.instagram.com/goryorgyincorporated/