FERRIS WHEEL
2008
mirrorfoil, projection, loop 6‘, 2.6m x 2.6m x 1.4m
en / de
In a room corner are one side of the wall and the ceiling covered with mirror foil.
One quarter of a ferris wheel, filmed at night time, is been projected to the second wall.
The whole wheel appears, blinking and turning in quarters against each other.
One quarter of a ferris wheel, filmed at night time, is been projected to the second wall.
The whole wheel appears, blinking and turning in quarters against each other.
FERRIS WHEEL
2008
Speieglfolie, Projektion, loop 6‘, 2.6m x 2.6m x 1.4m
Speieglfolie, Projektion, loop 6‘, 2.6m x 2.6m x 1.4m
en /
de
In einer Raumecke sind eine Wand und der Boden mit Spiegelfolie bedeckt. Auf die Spiegel freie zweite Wand wird ein Viertel eines leuchtenden Riesenrades, das bei Nacht gefilmt wurde, projiziert. Es erscheint das ganze Riesenrad, es blinkt Das sich drehende Viertelrad bildet zusammen mit den Spiegeln einen ganzen Leuchtkreis und dreht sich in Viertelssegmenten gegeneinander.
exhibition text
In the exhibition A PART APART, conceived by Elodie Pong, Nicole Hoesli presents three space installations.
After entering the bright stairway of an ancient industrial building of the art foundation Binz39 one enters a dark room, showing the video work «Riesenrad» 2008.
The gorgeous ferris wheel of Vienna‘s Prater scoops surprising phenomena into the dark. A quarter of the wheel is projected into a corner of the room in which mirror films assemble the sector to a quadrinomial whole. Colourfully shining chains of lights stream out of the flowery shaped hub and dissolve in a fascinating ornament of vibrant points of lights. The turning ferris wheel draws the visitors into a world without gravitation, the absence of the laws of geometry, a world not following the regularity of daily life.
A few steps further, the work «Escalator» (2006) is projected on a slanted board.
A precisely masked escalator – not a single ray of light falls aside the board – starts directly from the black floor and leads into the ceiling like a signal. The usual crowd on the escalators of malls, metro stations and airports is completely absent. The continuing image of motor-rumbling metal stairs draws all the attention to itself and arouses the curiosity about where the unending stream of stairs leads to.
Somewhat apart, in a niche of the room, an endless «Alley» unfolds on mirror film, consisting of a single cottonwood. A slight movement strokes the green leaves of the trees and attracts the look towards the vanishing point into the darkness of an infinite horizon. The eye of the beholder leaves the perception of endlessness to thought:
Here my position, there my idea, in between infinite space, like in «Starwind», in which the matter floats through time and space.
With her projections of collective architectures and simple construction and crafts materials, Nicole Hoesli constructs paradox and crystal clear dream spaces. Through the absence of human beings, her refined installations refer to a society that moves anonymously in masses around the globe. One considers oneself in a «negative space» , in which the reflection about alternative patterns of society and life can take place.
The installations with their atmospheric surfaces and deconstructive perspectives are seductive, go beyond the production of Trompe-l’oeil: pulsating motion-sequences and the unexpected dimensions create a kind of space of resonance, which one does not simply perceive. In the suggestive mental space one gets rid of the instrumental-rational consideration. In Binz39 Nicole Hoesli has established an architecture in between
virtuality and physique, which inspires the imagination of a newly inhabited world.
After entering the bright stairway of an ancient industrial building of the art foundation Binz39 one enters a dark room, showing the video work «Riesenrad» 2008.
The gorgeous ferris wheel of Vienna‘s Prater scoops surprising phenomena into the dark. A quarter of the wheel is projected into a corner of the room in which mirror films assemble the sector to a quadrinomial whole. Colourfully shining chains of lights stream out of the flowery shaped hub and dissolve in a fascinating ornament of vibrant points of lights. The turning ferris wheel draws the visitors into a world without gravitation, the absence of the laws of geometry, a world not following the regularity of daily life.
A few steps further, the work «Escalator» (2006) is projected on a slanted board.
A precisely masked escalator – not a single ray of light falls aside the board – starts directly from the black floor and leads into the ceiling like a signal. The usual crowd on the escalators of malls, metro stations and airports is completely absent. The continuing image of motor-rumbling metal stairs draws all the attention to itself and arouses the curiosity about where the unending stream of stairs leads to.
Somewhat apart, in a niche of the room, an endless «Alley» unfolds on mirror film, consisting of a single cottonwood. A slight movement strokes the green leaves of the trees and attracts the look towards the vanishing point into the darkness of an infinite horizon. The eye of the beholder leaves the perception of endlessness to thought:
Here my position, there my idea, in between infinite space, like in «Starwind», in which the matter floats through time and space.
With her projections of collective architectures and simple construction and crafts materials, Nicole Hoesli constructs paradox and crystal clear dream spaces. Through the absence of human beings, her refined installations refer to a society that moves anonymously in masses around the globe. One considers oneself in a «negative space» , in which the reflection about alternative patterns of society and life can take place.
The installations with their atmospheric surfaces and deconstructive perspectives are seductive, go beyond the production of Trompe-l’oeil: pulsating motion-sequences and the unexpected dimensions create a kind of space of resonance, which one does not simply perceive. In the suggestive mental space one gets rid of the instrumental-rational consideration. In Binz39 Nicole Hoesli has established an architecture in between
virtuality and physique, which inspires the imagination of a newly inhabited world.