December 16th 2018  – March 3rd  2019

 

Hannah Weinberger
When Time Lies

 

Opening: Sunday, December 16th, 11 am

 

 

Hannah Weinberger (* 1988, lives in Basel) works mainly with video, performance and above all sound. Her productions often transcend beyond classical exhibition formats. When Time Lies transforms the Villa Merkel into a walk-in sound space. Noises recorded during the construction, opening or running of the project, in and in front of the building, are transformed into ever new compositional structures by an algorithm. Whenever you visit the exhibition house, there are always new soundscapes.

Hannah Weinberger's artistic practice often focuses on almost random, sometimes marginal sounds that accompany us in our everyday lives and are, for example, the result of social gatherings.

 

 

 

 

 

 

Hannah Weinberger, When Time Lies, Installationsansicht Villa Merkel 2018

Hannah Weinberger, When Time Lies, Installationsansicht Villa Merkel 2018

Hannah Weinberger, When Time Lies, Installationsansicht Villa Merkel 2018

Hannah Weinberger, When Time Lies, Installationsansicht Villa Merkel 2018

Hannah Weinberger, When Time Lies, Installationsansicht Villa Merkel 2018

Hannah Weinberger, When Time Lies, Installationsansicht Villa Merkel 2018

 

 

 

 

 

 

 

 

 

Her works and installations are created in close reflection of the contexts which determine them. Again and again they enable new references to be made between the work and the audience. Thus they blur the roles of visitor and performer, reminding us that manifold relationships determine our everyday life with its social realities. Hannah Weinberger succeeds in creating impressive atmospheres that oscillate between familiarity and the spirit of discovery. The question of how images and sounds accumulate into memories in a medially overhauled world and how they inscribe and trigger memories is also always at the centre of attention.

 

 

 

With the generous support of Schweizer Kulturstiftung Pro Helvetia

 

 

 

 

 


 

Seit Februar 2019

 

BELLE & APHRODITE

Augmented Reality

von Barbara Herold

 

 

In der App BELLE & APHRODITE für Smartphone oder Tablet wird eine begehbare audio-visuelle Metamorphose von virtuellen Pflanzen erfahrbar.

 

Die 3D-Pflanze BELLE erstreckt sich über den gesamten Merkelpark. Als interaktive Formenwolke führt sie die Besucher_innen anhand von Standort- und Bewegungsdaten zu einer virtuellen Rose in Zentrum des Parks.

 

APHRODITE ist für den Lichthof der Villa Merkel konzipiert. Die 3D-Installation entfaltet sich im wiederkehrenden audio-visuellen Loop zu einer Phalaenopsis, einer gängigen Orchideen-Zuchtpflanze. APHRODITE kann aus allen Perspektiven betrachtet werden und spielt mit der Erfahrung von Abstraktion, Größenverhältnissen, Nähe und Distanz in der Überlagerung von Simulationsraum und echtem Raum.

 

 

 

 

 

 

 

 

 

 

 

 

 

Barbara Herold (*1977) befasst sich mit der medialen Gestaltung von Realität. Sie untersucht Strukturen & Phänomene, die sich durch den Einfluss von Medientechnologie auf die Gesellschaft etabliert haben und entwickelt anhand gängiger Gestaltungspraktiken wie Computation und Algorithmen eigene Systeme. Ihre Arbeiten entstehen im Spannungsfeld von analoger und digitaler Technik.

 

BELLE & APHRODITE entstand im Auftrag der Villa Merkel als “Kunst im Freien 2018” für den Merkelpark der Stadt Esslingen. Konzept & Idee: Barbara Herold, Klangkomposition: Kim_Twiddle, Code: Frank Groh, Mastering/Concept für 3D-Audio Separation: Simon Kummer 

 

Download App BELLE - APHRODITE

App Store & Google Play Store

 

 

 

Barbara Herold, Aphrodite, 2019, Still Augmented Reality App, Villa Merkel

Barbara Herold, Aphrodite, 2019, Still Augmented Reality App, Villa Merkel

Barbara Herold, Belle, 2019, Still Augmented Reality App, Merkelpark


 

Since 18 May 2014

 

Lois Weinberger – Mobiler Garten

 

 

 

The ‘Mobile Garden’ of the artist and Documenta participant Lois Weinberger, who lives in Vienna, was set up in front of the winter garden of the Villa Merkel, where it will remain for an extended time. In its wildness, it contrasts with the surrounding Merkelpark, whose well-kept greenery is reminiscent of English landscape gardens.

 

A field formed out of yellow plastic tubs filled with soil has been exposed to the free forces of nature. Over time, pioneer and ruderal plants have come to occupy the space in a spontaneous colonisation. Nature unfolds in accordance with the dynamism of its own laws in a veritably paradisal, because free manner. A Garden of Eden established itself. Over the years, this natural process of colonisation began to change into a form of decay:

 

 

 

 

 

 

 

 

 

 

The tubs gradually become bleached and decompose. The plastic particles blend with the soil and the plants; after decades, rainfall can be expected to have washed the underlying area clean again.

 

The garden is a fundamental form of our encounter with nature. We are familiar with gardens that aim at producing crops as well as those that are set up as beatific sites of contemplation. Affinities with paradise are possessed by the fruit and vegetable garden, the Baroque pleasure garden or, as an oasis amid the city, the public garden – in Esslingen, namely the Maille and the Merkelpark.

 

 

 

 

Lois Weinberger<br/>NOUS, 2004<br/>Freiraum Studio Spiegelfabrik Niederösterreich

Lois Weinberger<br/>Mobiler Garten, 2014<br/>Installationssansicht Merkelpark/Villa Merkel

Lois Weinberger<br/>Plastikeimer, Erde, Spontanvegetation