【Fox-Art】
具有“谋杀性”的小船－艺术家Juliusvon Bismarck
Hamburg, 2014
Juliusvon Bismarck
1983 born in Breisach am Rhein
grew up in Riad (Saudi Arabia), Freiburg and Berlin
2005 student Visual Communication at UdK Berlin
2006 member of “Digital Class” (Prof. Joachim Sauter) at UdK Berlin
2007 student MFA at Hunter Collage, New York, NY
2009 student at Institute for Spatial Experiments (Prof. Olafur Eliasson) at UdK Berlin
2012 three months study visit at CERN, European Organization for Nuclear Research
2013 graduation (Meisterschüler), Institute for Spatial Experiments (Prof. Olafur Eliasson)
In a public exhibition space (Art Basel Unlimited), von Bismarck spent a week on a paraboloid-shaped cement disc, which rotated around its own axis at a speed of fifteen revolutions per minute. He slept, ate, read, and talked on the telephone while on the platform. Viewers were able to see him clearly, although he was only able to perceive the external world as a blurred mass of people, whose voices merged in an incomprehensible murmur.
In this work, the artist serves as the object of an experiment, testing the perceptual and psychological effects of a rotating system in which the force of gravitation is distorted by centrifugal force. The objects on the platform do not have fixed locations, but rather orbits in which they circle. Yet von Bismarck’s body seems to be standing still, as the hub of a cosmos spinning around him. He is the center.
The cement platform describes a paraboloid, which has been engineered in terms of shape, so that the combined centrifugal and gravitational forces are always exerted at a ninety-degree angle to the surface. The sculpture was created in cooperation with structural engineer Norbert Enneking, who developed a unique sand formwork process combined with a sandwich construction that uses textile-reinforced ultra-high performance concrete. Conceived specifically for the object, this technique enables the production of thin, lightweight wood- cement shuttering formwork elements.
Basel, 2015
Hamburg, 2014
An old wooden boat is suspended from a metal frame like a swing, moving forward and backward in an unnaturally slow and almost imperceptible motion. The boat neither assumes the bouncing rhythm of a wave, nor the smooth alter- nation of a pendulum, but instead seems to hover. This condition is generated by two water tanks at either end of the boat, into which water is slowly pumped back and forth. The shifting weight of the water lends the boat its gradual, creaking movement.
Twelve concrete mixers are arranged in a circle in the center of a large rectangular space. They form an “erosion machine” designed to accelerate the decay of Vienna. The mixing drums are filled with architectural debris taken from various buildings across the city. The rotation of the mixers transforms these man-made angular bricks into round, organic forms. Over a long period of time and through continuous impact, the bricks are turned into pebbles and ultimately become powder. Inside the exhibition space this process is tangible through noise, clouds of dust, and vibration.
Vienna, Mexico City, Sao Paulo 2014–2015
In cooperation with Julian Charrie
Copenhagen, 2013
Twelve concrete mixers are arranged in a circle in the center of a large rectangular space. They form an “erosion machine” designed to accelerate the decay of Vienna. The mixing drums are filled with architectural debris taken from various buildings across the city. The rotation of the mixers transforms these man-made angular bricks into round, organic forms. Over a long period of time and through continuous impact, the bricks are turned into pebbles and ultimately become powder. Inside the exhibition space this process is tangible through noise, clouds of dust, and vibration.
Brandenburg, 2016
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