Backgrounds RaumStörung :

Today, it is by no means self-evident to find one's drives to produce art from a critical consciousness - rather old-fashioned. However, such criticism does not have to be limited to lamentations; it can express itself as constructive melancholy that holds subtleties of a critical drive in store. This is also how the function of such contemporary objections is to be understood, as it is expressed in different ways in this project.

We live in a time of images, of duplications, of the decline of immediacy. Due to technological means of communication, the call for the original is increasingly being forgotten - people are content with reproductions, with simulations that are economically more favourable and less risky.

Images tempt us to classify, to categorise through the absence of peculiar attributes, which are only available in the immediate appearance of the object as something to be perceived. The more the substance is enriched in diversity, the more it loses its status as a mere image.

The self-evident consumption of images, constantly practised today in everyday life, extends into ostensibly discourse-conscious cultural activities, brought about by the seductions of new technologies.

In current art forms such as art on the internet, indirect communication is cultivated as a principle, communication spaces are postulated that are probably thought of in this way, but whose immediate sensual perception is not self-evident. The communicator is only involved in the exchange with a part of his possible presence.