The curators
of this Nordic group show invited us to do a site-specific installation
for the entrance lobby of Budapest Kunsthalle.
We approach site-specificity in two alternative ways. Sometimes
the whole idea of the art work comes from the given or chosen
exhibition space, from its social, political or historical
context or simply from its architectural qualities. Another
way is to use some features of the exhibition space to work
on themes that interest us in general. This was the case in
this particular exhibition.
Randomness as phenomenon and the way we perceive visual impulses
have interested us from beginning of our artistic career.
These interests originally led us to work with blinking led-lights.
For this show we decided to do a new installation working
on the same technical principles as several of our earlier
led-installations.
The entrance lobby of Budapest Kunsthalle was a challenging
exhibition space for minimalist work like ours. The constant
traffic trough the space with doors on every wall combined
with the ticket office and cloakroom activities made the space
kind of restless. The rich and colorful interior did not help
much either.
In a way we gave up on solving the challenge and resolved
the problems by escaping them. We decided to darken the space
except for the ticket office and cloakroom and concentrate
to work on the rectangular, semi-transparent glass ceiling,
12.5 m above the floor. This type of glass ceiling, which
provides the entire space with even, natural light, is very
typical for the museums of this period. The ceiling, about
6 x 8 meters in size, has 88 square glass panels in 11 x 8
grid format.
For our installation we covered the whole ceiling from above
so that it let only little bluish light trough. Under this
cover we placed a light made of several leds above each opal
glass panel. Each of these lights was controlled by its own
blinking led. This transformed the ceiling into a randomly
changing matrix of 88 lights.
From below you could see only large light dots projected
onto the square opal glass panels. The background of the light
dots changed from clear blue in mid day to dark grey at night.
The light dots moving in the dark void above added a meditative
element to the otherwise active entrance lobby. A round black
glass table in the center of the room reflected the glass
ceiling and the moving light dots. The seating group surrounding
this table functioned as a peaceful place for observing the
installation.
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