Kurt Laurenz Theinert
Visual Piano
Audio-visual improvisation for a variety of instruments
in co-operation with Lukas Pearse

Performing hours: 7.30 pm // 8.30 pm // 9.30 pm // 10.30 pm // 11.30 pm
Duration 20 to 30 minutes.
Free Access.

Kurt Laurenz Theinert plays a keyboard to improvise imagery on 360° projection spaces. He generates abstract graphic materials – dots and lines, colors and shapes – to choreograph their echoes on all reflecting surfaces. For each performance, he will be joined by one improvising musician to add to the interplay of space and time. “Playing is for me an entire abstract process, there is no conceptual thought, no guiding idea and no meaning applied, I just want to explore the dynamics and esthetics of the interconnectedness of light, space, time, the music and me.”, he said while setting up in the St. David’s Church. >>The Interview

Kurt Laurenz Theinert is a photographer and performing light and media artist. His „visual piano“ performances are shown all around the world in Sao Paulo, London, Sydney, Berlin, New York, and Singapore. He concentrates in his work on visual experiences that do not refer, as images, to anything. On the contrary, he is striving for an abstract, reductive aesthetic that has ultimately led him – through a wish for more dematerialization – from photography to light as a medium.

RECENT SELECTED EXHIBITIONS

2017 // Miami [us], FROST MUSEUM OF SCIENCES
2017 // Corby [uk], DREAMING OUR WOODS
2017 // Brescia [it], CINEON
2016 // Stuttgart [de], AUFSTIEGE
2016 // Tunis [tn], INTERFERENCE
2016 // Dublin [uk], SCIENCE GALLERY
2015 // Hildesheim [de], LICHTUNGEN
2015 // Esch [lx], Public Space
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BACKGROUND

Since 1995 // Regular exhibition and performance activity worldwide
1985-1992 // Stuttgart [de], Studies of Design
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LINKS

LINKS

lukaspearse.ca
theinert-lichtkunst.de

The installation consists of fluorescent tubes arranged in a circle, all wired via long, thin, white cables to a construction cross hanging from the ceiling. The light emission is animated and shifts slowly from low luminosity to very bright in an endless loop.

“Fluorescent light is such a re­strictive medium and overtime, we developed a particular appreciation that drives us to continue to work with it. These tubes have their own poetics. The gas at the inside is set to a high vacuum state to cause a discharge phenomenon similar to the origin of the universe. May-be we sense that when we look at them” >> The Interview

SELECTED EXHIBITIONS

2017 // Pafos [cy], PAFOS 2017 at Pafos Municipal Gallery
2016 // Berlin [de], POSITIONS
2015 // Hildesheim [de], LICHTUNGEN
2014 // Moscow [ru], National Center Of Contemporary Arts
2012 // Eindhoven [nl], GLOW
Since 1996 // Artistic cooperation and regular exhibition activity as molitor & kuzmin, mainly in Europe. Present in public and private collections worldwide.

BACKGROUND

// Vladimir Kuzmin

Since 1983 // Regular exhibition activity, mainly in Europe
1972 // Moscow [ru], Studies of Architecture, Final Degree

// Ursula Molitor

Since 1985 // Regular exhibition activity, mainly in Europe
1966 // Hamburg [de], Studies of Graphic Design

LINKS

molitor-kuzmin-art.de
wikipedia.com/de/molitor & kuzmin

Mischa Kuball has been working in the public and institutional sphere since 1984. He uses light as a medium to explore architectural spaces as well as social and political discourses and reflects on a whole variety of aspects from sociocultural structures to architectural interventions as well as emphasizing or reinterpreting their monumental nature and context in architectural history. Public and private space merge into an indistinguishable whole in politically motivated participation projects, providing a platform for communication between the audience, the artist, the work itself and public space. “Due to his extended oeuvre and the continuous, long-term international display, Mischa Kuball has become a leading voice in Europe.” >> The Artist’s Text

SELECTED AWARD

2016 // Celle [de], Robert Simon Art Foundation, German Light Art Award

RECENT SELECTED EXHIBTIONS

2017 // Graz [at], Kunsthaus Graz – BIX Fassade
2016 // Davos [ch], Kirchner Museum
2015 // New York City [us], German House
2013 // Christchurch [nz], SCAPE Biennial
2013 // Toronto [ca], McMaster Museum of Art Hamilton
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BACKGROUND

Since 2015 // Duesseldorf [de], Member of North Rhine-Westphalian Academy of Sciences, Humanities and the Arts
Since 2007 // Cologne [de], Academy of Media Art, Professorship Art in Public Space
2004-2007 // Karlsruhe [de], University of Applied Art, Professorship Media Arts

Since 1888 // Regular exhibition activity around the world
1984-1988 // Berlin [de], Studies of Japanology and East Asian Mythology
1980-1984 // Duesseldorf [de], Studies of Media Pedagogics

LINKS

mischakuball.com
publicpreposition.net

In the middle of the gallery’s space, two light spots are situated, facing each other. They are turned on, each pulsing in its own rhythm. The emitted light is reflected by metal folie circle, located at the center of a glass disc, hanging from the ceiling, situated at the half-way point between the two light sources.

For more than fifteen years, glass and its physical, esthetical, and metaphorical assets have been the material and the qualities of choice for the artistic research of Judith Roeder. She focuses on the differentiation between the translucent properties of glass in opposition to its reflection and refraction properties when filtering light. She renders visible its permeability and non-permeability which lies beneath the glossy skin. >> Artist’s Text

SELECTED EXHIBITIONS

2016 // Vilnius [lv], Šv. Jono Gatvės Galerija
2015 // Barrage-Vauban-Strasbourg [fr], Biennale Internationale du Verre
2015 // Wroclaw [pl], SiC! Gallery
Since 2009, regular exhibition activity, mainly in Europe
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BACKGROUND

Since 2016 // Cologne [de], Studies Academy of Media Arts in Cologne
2010 // Koblenz [de], Diploma of Studies at the Institute of Ceramic and Glass Arts
2005 // Munich [de], Certificate of Apprenticeship [Gesellenbrief] for stained glass working
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LINKS

judithroeder.de

“Notional Field” is an interactive installation that consists of parallel, vertical lines made of elastic cord. They function as a mapping framework for an animated, graphical projection of moving lines. they are takes shapes that correspond with the viewers’ action in front of the work.

Annica Cuppetelli and Cristobal Mendoza stage an interplay of the analog and the digital sphere. In the tradition of Op-Art, they develop responsive sculptures that focus on the interference of textiles structures and graphical digital animation. The full range of properties shows when visitors not only view but move and interact with work.

In 2010, they began collaborating. They create installations and objects that combine physical elements with digital technologies, composing sensual, immersive, and dynamic experiences. “By not only mapping the object but by mapping the viewer as well, Cuppetelli | Mendoza realize works that are responsive to their audience. The full range of properties of their body of work shows when visitors not only view but also move and interact in front of the installation. The installations respond to their viewers with change. They translate the viewer’s movement into their setting and allow a playful exploration to unfold …” >> The Interview

SELECETD EXHIBTIONS

2016 // Abrau-Durso [ru], MARS
2016 // Stuttgart-Region [de], AUFSTIEGE
2015 // Lisbon [pt], PLUNC
2014 // Quebec [ca], Mois Multi 15
2013 // Luedesncheid [de], LICHTROUTEN
Since 2010 // Regular exhibition activity, mainly in the USA.
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// Annica Cuppetelli
2008 // Bloomfield Hills, MI [us], Cranbrook Academy of Art, MA
2002 // Detroit, MI [us], College for Creative Studies, BFA
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// Cristobal Mendoza
2007 // Providence, RI [us], Rhode Island School of Design, MA
2003 // Baltimore County [us], University of Maryland, BA
2000 // College Park [us], University of Maryland College Park, MD
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LINKS
cuppetellimendoza.com
vimeo.com/cmendoza

The work of Detlef Hartung and Georg Trenz at the Memorial Library in Halifax uses only single letters as projection materials. The sum of all kinds of texts, literature, and documentation of our alphabetized script culture collected in a library is dissolved and leads back to phoneme-based components.

In their spatial projections, Detlef Hartung and Georg Trenz explore the relationship among text, image, space and perspective, light, color, form, and sensory perception. This complex dynamic and its impact on human consciousness are the main focus of their artistic research. Their works are site- and context-specific responding to social, cultural, historical, or philosophical aspects as part of their conceptual choices. Architectural coding, technical functions, and traces of use become part of their concrete poetry. They have animated buildings such as churches, theaters, and galleries whose surfaces seemed in constant transformation by the interaction between the projected textures and the encountered structures.

“When approaching a new project, we start to ask a lot of questions and in the same way and at the same time, we explore the interplay of the site and the possibilities of projection. And the better both work, the more information and associations surface, and the more questions dive up. Usually the midst of this entanglement becomes our working ground …” >> The Interview

SELECTED EXHIBITIONS

2017 // Houmet Souk [tn], SEE DJERBA
2017 // London [uk], LONDON VAULTS THEATER FESTIVAL
2016 // Frankfurt [de], LUMINALE
2016 // Tunis [tn], INTERFERENCE
2016 // Eindhoven [nl], GLOW
2015 // Adelaide [au], BLINC
2015 // Hildesheim [de], LICHTUNGEN
2014 // Montréal [ca], FESTIVAL NOUVEAU DU CINÉMA
More

BACKGROUND

// Detlef Hartung
Since 1998 // regular exhibition activity with Georg Trenz, mainly in Europe
1985 – 1991 // Munich [de], Studies of Fine Art
1979 – 1984 // Munich [de], Studies in Mechanical Engineering
1967 // moved to Germany
1958 // born in Caracas [ve]
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// Georg Trenz
Since 1998 // regular exhibition activity with Detlef Hartung, mainly in Europe
Since 1997 // Munich [de], teaching design in several schools
1988-1994 // Munich [de], Studies of Fine Art
1982-1986 // Munich [de], Studies of Design
1962 // born in Munich [de]
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LINKS

hartung-trenz.de

joeressen+kessner develop transmedia interventions for site-specific works. They generate data systems that control audiovisual projections which are applied in real-time to a given site. The implementation of the digital dimension in an analog space via projection allows to disintegrate found settings and limitations and permits a redesign of references. The physical space with its architectural, spatial, and temporal ratios becomes part of a media system. >> The Interview

Since 2001, Eva-Maria Joeressen and Klaus Kessner are working as an artistic tandem. At that point, both had already successful artistic careers for fifteen years. Since 1985, Eva-Maria Joeressen is exhibiting focussing on objects and installations, since 1998, she holds a professorship at the Peter-Behrend-School of Architecture in Duesseldorf. Since 1986, Klaus Kessner has been working as a composer and sound designer, since 1992 his focus is on audiovisual systems and performances. Jointly, they developed a unique transmedia approach.

RECENT SELECTED EXHIBITIONS

2017 // Houmet Souk [tn], SEE DJERBA
2016 // Tunis [tn], INTERFERENCE
2015 // Hildesheim [de], LICHTUNGEN
2014 // Koblenz [de], MITTELRHEIN MUSEUM
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BACKGROUND

// Eva-Maria Joeressen
Since 1998 // Duesseldorf [de], Peter-Behrens-School of Arts, Professorship
Since 1985 // Regular exhibition activity, mainly in Germany
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// Klaus Kessner
Since 1986 // Regular composing and performing activity, mainly in Germany
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// LINKS
joeressenkessner.de
joeressen+kessner | Vimeo

“Memory” is an installation that aims to revive the memory of the space which is now known as “Gallery 3”. This work is an examination of cultural and intellectual heritage, translated into a space that has been rethought and reshaped by luminous wire.

Houda Ghorbel and Wadi Mhiri are two independent multidisciplinary artists based in Tunis. Their works encompass installation, video, performance, ceramics, and architecture of space. If they had to find a common thread in their work, the commitment and the passion for art would be the poetic vectors. The projects in common question the human body, the memory, the symbolism of identities, and the religious and political culture, they are constructed through the proposed space and experience.

“So many things that happen in our world confront us with a demanding complexity of intertwined developments and constant dynamics. When we work with light, we create paintings with a spatial and a temporal dimension. They are like three- or four-dimensional metaphors that express our attitude and offer an esthetical experience to our visitors. We are hoping to spark an echo … ” >> The Interview

RECENT SELECTED EXHIBITIONS

2017 // Seychelles [sc], ARTERIAL NETWORK
2017 // Houmet Souk [tn], SEE DJERBA
2016 // Tunis [tn], INTERFERENCE
2016 // Segou [ml], SEGOU’ART
2014 // Gammarth [tn], Sadika’s Art Space

LINKS

houdaghorbelwadimhiri.com

“Glow House”, first created in 2000/2001, has been exhibited several times. “Glow House” uses 35-60 CRT television sets distributed throughout a house and all tuned to the same channel. The small flicker of light emanating from each synched TV is then turned into a “pulse” of light throughout the entire house. As the scenes change, from whatever television program is airing at the moment, the house flashes and pulses as all televisions are in sync with one another.

Kelly Mark is a conceptual artist who makes use of a broad range of material and found objects to create sculptural installations, performances, video work, photographs, sound, light sculptures, art multiples, mail art, wallpaper, Letraset, and tattoos.

“With their minimal alterations of found objects and simple representation strategies, the individual works look provisional. Yet, because the “present” ready-made objects and materials, the works are also specific. There can be no mistaking what they are in the factual sense … For informed viewers, the evocation of moments in the history of twentieth-century art – Duchamp’s assisted ready-mades, Minimalism’s seriality, Eva Hesse’s variation-within-repetition, Jackie Winsor’s mutilated boxes – seems equally unambiguous.” >> The Artist’s Text

SELECTED EXHIBITIONS

2017 // Toronto [ca], Olga Korper Gallery
2016 // Toronto [ca], Diaz Contemporary
2016 // Birmingham [uk], IKON Gallery [Tower Room]
2015 // Waterloo [ca], University of Waterloo Art Gallery
Since 1992 // Regular exhibition and performing activities
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BACKGROUND

1994 // Halifax/Nova Scoita (ca), NSCAD University, Graduation

An object to be both looked at and looked through, an apparatus that explores loss and practices of looking. Photographs have the ability to be both moving and still, simultaneously expansive and constrictive in its imagery. Fabricated using components from a deconstructed enlarger, an apparatus that sustains the photograph as an object, a tool used to record the ephemeral moment, to obscure reality, to hold onto an uncertain truth. “An Apparatus for Longing” is an attempt to capture an ephemeral moment in its truest sense, to document duration, fleeting moments, always in a process of response, always failing in its attempt to preserve. Appearing solid in form but continually changing in composition, the image is never fixed, but always in a state of movement, constantly responding to its surroundings, it becomes about the act of looking, the act of searching. [Text: Ursula Handleigh]

Ursula Handleigh is an interdisciplinary artist working with experimental photography, film, and alternative processes of image-making. Her practice explores questions of identity, perception, memory, and kinship. Using experiential photography and the personal archive as a foundation for exploration, her work addresses the ways in which we create personal histories while challenging traditional methods of documentation. “I choose a material to accompany my thoughts and I start a kind of dialogue, I initiate an action and the material responds, and I start to build from there. I enjoy this state of being attentive and like to watch the process develop.” >> The Interview

SELECTED EXHIBITIONS

2017 // Halifax, Nova Scotia [ca], Anna Leonowens Gallery
2016 // Gimp [kr], CICA Museum
2016 // Florence [it], Giardino dell’Orticoltura
2016 // Toronto, Ontario [ca], Habourfront Center
2014 // Calgary, Alberta [ca], New Gallery +15
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BACKGROUND

2017 // Halifax, Nova Scotia [ca] [NS]CAD University, Masters of Fine Arts
2012 // Toronto, Ontario [ca], OCAD University, Bachelors of Fine Arts
2011 // Prague [cz], Film and TV School of Academy of Performing Arts
Since 2009 // Regular exhibition activity in Canada

LINKS

ursulahandleigh.com

From the collection of the Art Gallery of Nova Scotia: “Tautology” is a series of neon sculptures depicting the thunderbird, a legendary creature in various North American Indigenous cultures. Linklater appropriated this specific thunderbird image from Norval Morrisseau’s seminal painting, Androgyny [1983]. By reanimating the bird in neon – a contemporary, commercial material – Linklater inserts the traditional icon into contemporary discourse.

Working in performance, installation, film, and other media, Duane Linklater addresses issues of cultural loss and recovery as well as authenticity, appropriation, and authorship. He often collaborates with others, reconsidering oral traditions where the transmission of knowledge, stories, or histories is essential to future generations. >> The Artist’s Text

SELECTED AWARDS

2016 // Canada Council for the Arts, Victor Martyn Lynch-Staunton Award for Media Art
2013 // Sobey Art Award hosted by the Art Gallery of Nova Scotia

SELECTED EXHIBITIONS

2016 // New York [us], 80WSE Gallery
2016 // Toronto [ca], Mercer Union
2015 // Salt Lake City, UT [us], Utah Museum of Fine Arts
2014 // Vancouver [ca], Catriona Jeffries
2014 // Philadelphia, PA [us], Institute of Contemporary Art Philadelphia,
2014´// Montreal, QC [ca], Vox Centre de L’image Contemporaine
Since 2005 // regular exhibition activity, mainly in North America
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BACKGROUND

2012 // New York [us], Bard College, MA
2005 // Alberta [ca], University, Fine Arts, BA

LINKS

Duane Linklater c/o Catriona Jeffries

Two projection beams are directed to meet across a dark space on the same projection ground. They display a luminous text employing text lines as graphical material to engender a digital sculpture. “Lightscape – Illusion” is a responsive environment that can be altered by the viewers. By stepping into one of the two projection beams, the viewer generates a shadow play that becomes part of the animated text “Lightscape”. Hartung | Trenz reflect on light as the medium that governs the interdependence of visibility, perception, and representation. With “Lightscape – Illusion”, they stage the dynamic interplay of light and space, of body and vision, of perceiving and recognizing in a playful setting.

In their spatial projections, Detlef Hartung and Georg Trenz explore the relationship among text, image, space and perspective, light, color, form and sensory perception. This complex dynamics and its impact on human consciousness are the main focus of their artistic research. Their works are site- and context-specific responding to social, cultural, historical or philosophical aspects as part of their conceptual choices. Architectural coding, technical functions, and traces of use become part of their concrete poetry. They have animated buildings such as churches, theaters, and galleries whose surfaces seemed in constant transformation by the interaction between the projected textures and the encountered structures.

“Working with projection allows us to experiment with typographic properties at any site. The interplay of a landscape or an urban environment and the architecture of typography is an esthetical exciting process and often has an ethical impact. In our works, we share our interest and process with a context or a site.” >> The Interview

SELECTED EXHIBITIONS

2017 // Houmet Souk [tn], SEE DJERBA
2017 // London [uk], LONDON VAULTS THEATER FESTIVAL
2016 // Frankfurt [de], LUMINALE
2016 // Tunis [tn], INTERFERENCE
2016 // Eindhoven [nl], GLOW
2015 // Adelaide [au], BLINC
2015 // Hildesheim [de], LICHTUNGEN
2014 // Montréal [ca], FESTIVAL NOUVEAU DU CINÉMA
More

BACKGROUND

// Detlef Hartung
Since 1998 // regular exhibition activity with Georg Trenz, mainly in Europe
1985 – 1991 // Munich [de], Studies of Fine Art
1979 – 1984 // Munich [de], Studies in Mechanical Engineering
1967 // moved to Germany
1958 // born in Caracas [ve]
More

// Georg Trenz
Since 1998 // regular exhibition activity with Detlef Hartung, mainly in Europe
Since 1997 // Munich [de], teaching design in several schools
1988-1994 // Munich [de], Studies of Fine Art
1982-1986 // Munich [de], Studies of Design
1962 // born in Munich [de]
More

LINKS

hartung-trenz.de