Installations

In the Winter Palace of the Belvedere, contemporary interventions are staged in the opulent Baroque staterooms of the military commander Prince Eugene of Savoy, whose accomplishments are recorded in the paintings that adorn the walls and ceilings. In this installation of a silent conquest, a physically palpable intervention confronts the majestic setting, giving rise to a dynamic and accessible architecture. The installation is positioned in the centre of the room. Its haptic properties invite visitors to interact playfully with one another and with the space. The installation object is filled with air and water and projects the touches of the visitors onto an interactive ceiling fresco formed of light reflections. Enhanced by a fragrance developed for the installation by Yogesh Kumar, the play of light creates a moment of mystery and seduction.

A linear space is created in the place of a fence, fulfilling the same purpose of demarcation, yet also unfurling a multifaceted experiential space for the human senses. The object, which zones and separates, can be penetrated and also forms the access to the cultural zone in the industrial estate. The transformation space as thoroughfare signals to visitors that they are entering an altered area that has only recently been opened to the public.

Prefabricated concrete elements are assembled to form a curved, cylindrical space. Slots of light between the elements enhance the overall structure and create views, inside and out. During the day, light shines in through the gaps. As night falls, the object glows from within. The northern opening is focussed like a telescope onto the surrounding landscape.

The landscape of Lower Austria is the starting point for the installation Noeklius – a spatial logo for and from the province, which is both atmospheric and informative. The form of the modular sculpture is derived from the topographical characteristics. For the implementation, the lowland was employed exemplarily as a pivotal point in a 3D-map of the entire province, giving the region its own body, whose surface can then be peeled away like a skin. In a mapping process, the surface of the sculpture gains a virtual dimension. Information about individual places and sub-regions can be located via smartphone and obtained acoustically via loudspeaker. A simulation model that permits us to perceive and experience the “planet” of Lower Austria.

For the exhibition “Trespassing – Contours of Spatial Action”, the audio object was developed as communication form for ten audio interviews functioning without headphones. Users are drawn to listen and attend. Holes that seem infinitely deep invite people to creep inside and lose themselves in sound. A space takes shape that has no intention of offering any accustomed orientation.

Inside the exhibition the Audiolounge is perceived as murmuring object. On approaching closer, different sound tracks become clearly recognisable as they stream out of the openings. As soon as someone leans into a hole, visual contact to the surroundings is blocked and replaced by the surrounding noises of the interview.

Schönbrunner Straße number 50, an abandoned fruit and vegetable shop is at our disposal for two weeks.
We stood in this space, which had lost its original function as a street front grocery. This apparent lack of function is pleasant, emancipating the space from the belief that it must function. It entices one to add something to the space, to blow in infiltrating material that activates this exceptional state and transforms it into the urban environment. The glass entrance is to be removed. The wind is channeled into the interior of the space. The vacated greengrocery changes into a space that catches the wind. It is the urban breezes that carry him away like a dream.

We interpreted the temporary bar that was commissioned for St.Pölten’s annual Höfefest (Courtyard Festival) as a haptic drinking object in the public realm.
The so-called “Trinkbrunnen” (drinking fountain) was made out of highly elastic rubber-based roofing film. By using a vulcanisation process, the film was melted into the form of a strong inflatable pipe with a shrink-wrapped container that was filled with water to create a cooling reservoir for the drinks. The weight of the water stabilised and shaped the pneumatic object. In addition to this, the object tangibly relayed the movements of spectators who leant upon it.
The drinking fountains were protectively “clad” in netting. A wheeled trunk containing the object and the equipment required for assembling and dismantling it are also part of the overall ensemble.