Finalist

TILMAN KÜNTZEL

audiovisual installation with luster


A big chandelier of crystal glass lies on the ground like it fell off the ceiling. In the inside 40 light bulbs flicker. The light of the bulbs refracts in the crystal glasses and creates spectrum colors and dancing light movements on the walls and the ceiling of the room. Equivalent there are quiet switch sounds which generate the flickering.

The light movements are dynamic and generate itself by faulty switching. This comes from starters of fluorescent tubes in the circuit of two light bulbs.

Biography / Tilman Küntzel

Since his studies of fine arts at the University of fine arts Hamburg, teached by Claus Böhmler and Ernst Mitzka, Tilman Küntzel focuses on questions of perception and the creation of signal sources. In his site-specific multimedia installations the artist sets high value on these focuses – without any provocative gestures. Küntzel’s hedonistic-experimental work of crossing borders between science and art ranges from graphic works to multimedia objects and room animations on specific sites, as well as audio and video works, which are internationally shown at festivals.

Finalist

VROEGOP/SCHOONVELD

Light art installation ‘ECHO, turning the light around’

The installation ‘ECHO, turning the light around’ will consist of 200 standing turning lamps with a black and white checkered pattern, closely placed against each other constructing an 8 shape. Two contiguous circles overlap – a monumental eternity sign, tailored to the location. The turning of the lamps gives the impression of one long continuous stream. The work is an echo of minimal art and music where crafted artworks are characterized by startling simplicity.

The artistic goal is to construct a mesmerizing world where visitors are hypnotized by the steady rhythm of light and dark. Visitors are invited not only looking at but entering the light sculpture to experience light and movement. The concept is based on the current social, political and cultural topic of the construction of the ‘self’. We are what we see, our environment sculptures us. ‘Turning the light around’ comes from Taoism and describes the method of meditation which attaches great importance to the awareness that everything that is outside us is within us. An echo, so to speak.

This installation is an example of the method and research of Vroegop/Schoonveld. Characterized by working with standards, modular production methods, cliché’s, repetition and in series.

Biography / Vroegop/Schoonveld

The Groningen based Dutch artists duo Vroegop/Schoonveld lived and worked in the past few years in China, USA and Spain. Recent exhibitions of their work have been held at such venues as the World Expo Shanghai 2010 (representing The Netherlands at the Dutch Cultural Centre), C-Space Gallery Beijing, UCCA Museum Beijing 798, Chinese European Art Centre Xiamen China, Stedelijk Museum Amsterdam NL, Tschumi pavilion Groningen NL. In 2016 they presented a light sculpture at Kunstverein Diepenheim NL. They are closely connected with Art teaching as project and guest tutors in both China and The Netherlands. They worked on an educational project at the Academy for Art and Design Utrecht, Enschede, Groningen. There are several publications on their work. - The method and research of Vroegop/Schoonveld are characterized by working with standards, modular production methods and in series. The work thereby targets such issues as identity and existence and raises questions about the ideology of our culture in which exclusiveness, autonomy, a personal style and signature predominate. They experiment with the enormous potential of light and movement.

Finalist

SATORU TAMURA

Point of Contact for Unna

“Point of contact for Unna” is, to put it simply, an open and exaggerated electric switch. Brass bars hung on a wire emit blue sparks by contacting a steel plate. The sparking contact point makes incandescent lamps turn on as they are an electrical load. It physically proves the electrical “Point of Contact”. This deeply naturalistic cycle repeats itself indefinitely. The work consists of two forms of light:

  • An incandescent lamp – the oldest electrical light invented by Joseph Wilson Swan. This primitive 3,000-4,000W strong light has no purpose, it represents the luminous phenomenon itself.
  • The light of contact point is the spark caused by unstable contact between brass bar and steel plate.

The column of incandescent lamps will be placed in the back of the room. And the system of contact point will be in the middle of the column and viewers. The viewers can see a blinking light column and sparks of contact in the same time.

There are no meanings, purposes or arguments here. The artist wants to get rid of them and want to make his work independent from any thoughts, principles and policies. He just wants to leave the work simply as it is. He doesn’t define light as a technology, but light as a phenomenon. Electricity flows and the lights turn on. This work reminds us of the process where electricity comes from a power plant to the museum through high-voltage power lines and transformer substations, and becomes the light to illuminate surroundings and then returns back to the earth. The pendant of a lot of light bulbs form a cylindrical shape in this work. It is reflected on the floor, which is covered with zincing plates that make the reflection look like a column of light extends from under the floor. The blinks of intense light and the huge pile of cords make viewers dazed and lure them in the electric labyrinth.

Biography / Satoru Tamura

Satoru Tamura is a multimedia artist who creates sculptures, kinetic art, video works, installations with electricity and light. His artworks are based on the theme “destruction of meaning” to seek for artworks of a pure white idea with no background. The destruction takes place lightly, never gravely. It may even bring laughter. In his artworks, he constructively destroys the meaning or creates a situation where no meanings attach. He tries to stay liberated from meaning, establishment, and purpose of materials and forms. Perhaps, the meaning, establishment, and purpose, which stick to things, are our common measurement to connect ourselves with the society. They melt in to our minds before you know. He intentionally destroys or ignores them in his works. And when the object’s meaning, establishment, and purpose are ignored or lost, the object really will only be " the object ". "What to make" is one of the most important decisions of artists, each time is decided simply in Satoru Tamuras case. However, maximum caution is given when making or presenting objects only as they are.

April 2016
CALL FOR PROJECTS
14th August, 2016
Deadline Concepts
October 2016
Jury chooses the 3 finalists
October 2016 - March 2017
Finalists realize their concepts
21st April 2017
Award ceremony + Opening of the accompanying exhibition in Unna for invited guests
22nd April 2017
Family event on the occasion of the opening of the ILAA-Exhibition
3rd September 2017
Exhibition “The Future of Light Art” closes

News

Museum
Centre for International Light
Art Unna


Lindenplatz 1
59423 Unna

Germany
Christofer Schmidt (Project Management)

Fon: +49 2303 103 770
E-Mail: ilaa@ilaa.eu

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