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Butterfly Effect, 2024
Installation


MIT SYSTEMEN SPIELEN

Der Versuch, Dinge oder Naturphänomene in ein Verhältnis zueinander zu setzen, um «darin», «dahinter» oder «darüber» ein greifbares System zu erkennen, schafft Versuchsanlagen von Ordnungen, die gleichzeitig ebenso hinterfragen wie sie etwas vorstellen und darstellen. Welche Rolle nimmt dabei der künstlerische Blick ein? Was lösen Störung, Brüche mit solchen Ordnungen aus? Was verheis-sen uns Prinzipien wie als-ob und sowohl-als-auch?



Haus Zur Glocke, Steckborn, CH

Judit Villiger - Leiterin, Kuratorin, Vermittlerin und Künstlerin

Andreas Schwarz - Co-Kuration und Co-Leitung

Cindy Reichelt - Co-Kuration und wissenschaftliche Mitarbeit

Linda Jensen (Last Tango):

Lisa Biedlingmaier has long been concerned with bodily, psychic, and political subjects, be it the sub/conscious, belonging, love, death, and spirituality.Linda Jensen (Last Tango):

Lisa Biedlingmaier has long been concerned with bodily, psychic, and political subjects, be it the sub/conscious, belonging, love, death, and spirituality.




At the very end of the room is Lisa Biedlingmaier’s video work MANA (2022). The title refers to the Hawaiian name of life force and is an energy healing code. We enter a mystical sea underworld, full of light and movement, and replete with macramé things. Often considered to be a treacherous place, this sea floor is peaceful and poetic. Filmed in a cenote (a natural deep-water well) in Yucatan in Mexico, these sites were once considered to be portals to the Mayan underworld. Biedlingmaier plays with our perception. The viewer might perceive the inanimate objects as living creatures. (A phenomena called Pareidolia.) This special turn of mind transforms sailing rope macramé into seahorses. Or one might consider the formations to be ancient artefacts. Their graceful gravitational dance and shapes trigger connections to the archaic, perhaps to a collective shared memory. Psychologically and mythically, water is the most common symbol for the unconscious mind. It is the realm of feelings, dreams and creation. The artist invites the viewer to delve within. It is a consideration on love, one beyond a tunnel-vision perspective and one that celebrates intricacy, tolerance and sentience.






At the very end of the room is Lisa Biedlingmaier’s video work MANA (2022). The title refers to the Hawaiian name of life force and is an energy healing code. We enter a mystical sea underworld, full of light and movement, and replete with macramé things. Often considered to be a treacherous place, this sea floor is peaceful and poetic. Filmed in a cenote (a natural deep-water well) in Yucatan in Mexico, these sites were once considered to be portals to the Mayan underworld. Biedlingmaier plays with our perception. The viewer might perceive the inanimate objects as living creatures. (A phenomena called Pareidolia.) This special turn of mind transforms sailing rope macramé into seahorses. Or one might consider the formations to be ancient artefacts. Their graceful gravitational dance and shapes trigger connections to the archaic, perhaps to a collective shared memory. Psychologically and mythically, water is the most common symbol for the unconscious mind. It is the realm of feelings, dreams and creation. The artist invites the viewer to delve within. It is a consideration on love, one beyond a tunnel-vision perspective and one that celebrates intricacy, tolerance and sentience.