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Auf der anderen Seite führte es zu Umwelt-und Luftverschmutzung, unkontrolliertem Ressourcenverbrauch und zu gesellschaftlichen Umwälzungen, soziale Ungleichheiten, Urbanisierung und einer Ausbeutung der Arbeiter, die unter gefährlichen Bedingungen arbeiten mussten.",[],{"_key":652,"_type":42,"children":653,"markDefs":658,"style":67},"5972ee677cba",[654],{"_key":655,"_type":46,"marks":656,"text":657},"a16b2cdeccae",[],"Francisco de Goya (1746-1828) gehörte in dieser Zeit zu den Künstlern, der in seinen Arbeiten und seinen Radierungen aufklärt, er negiert nicht die Welt der Gespenster, wie viele seiner Zeitgenossen. Er zeigt die Abgründe von Dummheit und Brutalität der religiösen und weltlichen Macht. Seine Darstellung von Hexen, die kleine Kinder quälen. Eines davon wird an Händen und Füssen festgehalten und als Blasebalg missbraucht. 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Die Wortfragmente einer Aufführung, einer Erinnerung, einer Rückkehr schweben über diese Fläche, kaum sichtbar, wie Atem gegen das Glas gehaucht. Der Text will nicht gelesen werden. Hier zu verweilen bedeutet, sich damit einverstanden zu erklären, nicht ganz zu begreifen, und vielleicht ist es das, was dem Verständnis am nächsten kommt. Die Worte stammen aus den Schlusszeilen eines Performance-Textes, eine persönliche Reflexion über Erinnerung, Orientierungslosigkeit und die Unmöglichkeit einer vollständigen Rückkehr. Verstreute Buchstaben und Sätze verblassen wie halb erinnerte Gedanken. Das „O“ suggeriert sowohl einen offenen Mund als auch eine Leere. Wie in der konkreten Poesie liegt die Bedeutung hier nicht nur in den Worten, sondern auch in ihrem Rhythmus. 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To linger here is to agree to not fully comprehend, and perhaps that is the closest we can come to understanding. The words are taken from the final lines of a performance text, a personal reflection on memory, disorientation and the impossibility of a complete return. Scattered letters and sentences fade like half-remembered thoughts. The ‘O’ suggests both an open mouth and an emptiness. As in concrete poetry, the meaning here lies not only in the words, but also in their rhythm. 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Die Vorhänge kommen aus dem Barocktheater, sogenannte „Gassen“. In Theateraufführungen wurden bedruckte, beklebte oder bemalte Vorhänge verwendet, um eine perspektivische Illusion von Natur oder Architektur auf der Bühne zu erzeugen. In der Arbeit stellen die Vorhänge einen Teil eines restaurierten Säulenganges dar. Im Gegensatz zum Theater, wo die Zuschauer:innen auf ihren Plätzen fixiert sind, können hier die Besucher:innen in der Halle ihre Position variieren und die Illusion selbstständig herstellen oder auflösen.",[],{"_key":1050,"_type":42,"children":1051,"markDefs":1056,"style":67},"909257e4376a",[1052],{"_key":1053,"_type":46,"marks":1054,"text":1055},"d338aaba4f60",[],"In dem Bereich, in dem sich traditionell die Requisiten verbergen, steht ein Monitor. Darauf läuft ein Videoloop, zu sehen sind die Trümmer einer zerstörten Bunkeranlage, die bemalt sind mit den Symbolen eines Codes. Sie sprechen von einer Täuschung; einer bereits zerstört gebauten Kulisse, zu dem Zweck, einen Krieg zu rechtfertigen. Doch was wahr ist und was nur Fassade, wissen die Verfasser dieses Codes bald selbst nicht mehr. Manchen scheint es nur noch darum zu gehen, ein Stück der Wahrheit zu finden, das nicht brüchig ist. 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The curtains come from the baroque theatre, so-called ‘Gassen’. Printed, pasted or painted curtains were used in theatre performances to create a perspectival illusion of nature or architecture on stage. In this work, the curtains represent part of a restored colonnade. In contrast to the theatre, where the spectators are fixed in their seats, here the visitors can vary their position in the hall and create or dissolve the illusion independently.",[],{"_key":1105,"_type":42,"children":1106,"markDefs":1111,"style":67},"71c2d024ff93",[1107],{"_key":1108,"_type":46,"marks":1109,"text":1110},"81929c7f6d10",[],"In the area where the props are traditionally hidden, there is a monitor. A video loop runs on it, showing the rubble of a destroyed bunker facility painted with the symbols of a code. They speak of a deception; a backdrop that has already been destroyed in order to justify a war. But the authors of this code themselves soon no longer know what is true and what is just a façade. 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Nahe und ferne Geschichten beschreiben buchstäblich den Boden, ertastend, bewegend, Linien durchziehen die Flächen und bilden Hybride aus Wort und Bild. Veilchen warten zitternd im Wind, Lichtpunkte versetzen die Fläche ins Wogen. Vergangenheit, Gegenwart und Zukunft ziehen sich handschriftlich und zeichnerisch über die Inselfläche. Ein Prozess des Fragens und Erzählens entfaltet sich immer wieder neu. Die Rezipient:innen werden mit meditativen Bildern und Zeilen konfrontiert, die sie nach Ängsten und Sehnsüchten befragen.",[],{"_key":93,"_type":38,"value":1175},[1176,1183,1191],{"_key":1177,"_type":42,"children":1178,"markDefs":1182,"style":67},"acc23734e01c",[1179],{"_key":1180,"_type":46,"marks":1181,"text":1156},"05eedba19903",[243],[],{"_key":1184,"_type":42,"children":1185,"markDefs":1190,"style":67},"1d26d242237d",[1186],{"_key":1187,"_type":46,"marks":1188,"text":1189},"f18fcaed3eaa",[],"Video installation, loop, stereo",[],{"_key":1192,"_type":42,"children":1193,"markDefs":1198,"style":67},"03dca44c126c",[1194],{"_key":1195,"_type":46,"marks":1196,"text":1197},"03745e262d1d",[],"A white, oversized patch of colour lies like a forgotten island in the industrial hall. Near and distant stories literally describe the floor, touching, moving, lines traverse the surfaces and form hybrids of word and image. Violets wait trembling in the wind, points of light cause the surface to ripple. Past, present and future are written and drawn across the island's surface. A process of questioning and storytelling unfolds again and again. The recipients are confronted with meditative images and lines that question them about their fears and desires.",[],"Lia Sáile",{"_key":1201,"_type":192,"introSettings":1202,"settings":1209,"slides":1221,"title":1286},"95e027de1c45",{"_type":194,"color":195,"image":1203},{"_type":197,"cta":1204,"image":1205,"type":17,"videoSettings":1208},{"_type":199,"blank":15,"func":200,"type":201},{"_type":17,"asset":1206},{"_ref":1207,"_type":20},"image-976135a27b3ecdd57a23aeea0f02d5145ffa7321-3000x4000-jpg",{"_type":27,"autoplay":28,"controls":15},{"_type":194,"color":195,"image":1210,"media":1215},{"_type":197,"cta":1211,"image":1212,"type":17,"videoSettings":1214},{"_type":199,"blank":15,"func":200,"type":201},{"_type":17,"asset":1213},{"_ref":1207,"_type":20},{"_type":27,"autoplay":28,"controls":15},{"_type":197,"cta":1216,"image":1217,"type":17,"video":14,"videoSettings":1220},{"_type":199,"blank":15,"func":200,"type":201},{"_type":17,"alt":14,"asset":1218,"crop":14,"dimensions":1219,"hotspot":14},{"_ref":1207,"_type":20},{"_type":22,"aspectRatio":153,"height":25,"width":24},{"_type":27,"autoplay":28,"controls":15},[1222],{"_key":1223,"_type":221,"media":1224,"modules":1231},"8b7afb50aa0d",{"_type":197,"cta":1225,"image":1226,"type":17,"video":14,"videoSettings":1230},{"_type":199,"blank":15,"func":200,"type":201},{"_type":17,"alt":14,"asset":1227,"crop":14,"dimensions":1229,"hotspot":14},{"_ref":1228,"_type":20},"image-c50d8d3a026b9875f45c4c0cf0292fcc538a7548-3000x4000-jpg",{"_type":22,"aspectRatio":153,"height":25,"width":24},{"_type":27,"autoplay":28,"controls":15},[1232],{"_key":1233,"_type":34,"text":1234},"dd722cfa841c",[1235,1261],{"_key":37,"_type":38,"value":1236},[1237,1245,1253],{"_key":1238,"_type":42,"children":1239,"markDefs":1244,"style":67},"72dbae1dc646",[1240],{"_key":1241,"_type":46,"marks":1242,"text":1243},"92002b11c0a6",[243],"Tintinnabulum, 2025",[],{"_key":1246,"_type":42,"children":1247,"markDefs":1252,"style":67},"56a71c05cb66",[1248],{"_key":1249,"_type":46,"marks":1250,"text":1251},"8591bc30f95a",[],"Performance, Dauer 30 min",[],{"_key":1254,"_type":42,"children":1255,"markDefs":1260,"style":67},"ec9f0b9223ac",[1256],{"_key":1257,"_type":46,"marks":1258,"text":1259},"2b5b2bdc068a",[],"Tintinnabulum ist eine Performance, die die porösen Grenzen zwischen Männlichkeit und Verletzlichkeit durch Bewegung, gesprochenes Wort und Klang erforscht. Inspiriert vom antiken römischen Amulett - einem erigierten Penis aus Bronze mit Glocken, der das Böse abwehren soll - greift Gomes dieses Symbol wieder auf, um die Weichheit in einer Welt zu hinterfragen, die männliche Härte fordert. Das Stück imaginiert eine Liebesgeschichte zwischen einem stoischen Soldaten und einem fremden Besucher und zeichnet ihre sich entwickelnde Verbindung durch Vertrauen, Spannung und Hingabe nach. Glocken, die an einem schwebenden Lautsprecher und dem Körper des Darstellers befestigt sind, schaffen eine Klanglandschaft aus Anziehung und Reibung, die den Raum in eine sensorische, sich verändernde Umgebung einhüllt. Tintinnabulum ist eine Mischung aus Erzählung, Geschichte und persönlicher Recherche in Deutschland, Frankreich, Armenien, Georgien und Brasilien und ist Teil von Gomes' fortlaufender Dokumentarfilmpraxis. Es verwandelt die Bühne in einen Raum, in dem Klang, Sinnlichkeit und die Politik der Männlichkeit aufeinandertreffen und zu einer Reflexion über Intimität, Verletzlichkeit und gesellschaftliche Erwartungen einladen. Im Kern ist das Projekt eine Studie über den körperlichen Ausdruck, bei dem das Weichsein, die Entblößung und die volle Präsenz zu einem Akt des Widerstands und der Hoffnung werden.",[],{"_key":93,"_type":38,"value":1262},[1263,1270,1278],{"_key":1264,"_type":42,"children":1265,"markDefs":1269,"style":67},"6d260d795b28",[1266],{"_key":1267,"_type":46,"marks":1268,"text":1243},"901c880c4b5c",[243],[],{"_key":1271,"_type":42,"children":1272,"markDefs":1277,"style":67},"535713b44e76",[1273],{"_key":1274,"_type":46,"marks":1275,"text":1276},"e622c40021e3",[],"Performance, duration 30 min",[],{"_key":1279,"_type":42,"children":1280,"markDefs":1285,"style":67},"ca093ce33ea7",[1281],{"_key":1282,"_type":46,"marks":1283,"text":1284},"d42a8acf740c",[],"Tintinnabulum is a performance that explores the porous boundaries between masculinity and vulnerability through movement, spoken word and sound. Inspired by the ancient Roman amulet - an erect bronze penis with bells to ward off evil - Gomes revisits this symbol to question softness in a world that demands male toughness. The piece imagines a love story between a stoic soldier and a foreign visitor and traces their evolving connection through trust, tension and devotion. Bells attached to a floating speaker and the performer's body create a soundscape of attraction and friction, enveloping the space in a sensory, shifting environment. Tintinnabulum is a mixture of narrative, history and personal research in Germany, France, Armenia, Georgia and Brazil and is part of Gomes' ongoing documentary film practice. It transforms the stage into a space where sound, sensuality and the politics of masculinity collide, inviting reflection on intimacy, vulnerability and societal expectations. At its core, the project is a study of physical expression, where softness, exposure and full presence become an act of resistance and hope.",[],"Gustavo Gomes",{"_key":1288,"_type":192,"introSettings":1289,"settings":1296,"slides":1308,"title":1374},"67f2de1936dc",{"_type":194,"color":195,"image":1290},{"_type":197,"cta":1291,"image":1292,"type":17,"videoSettings":1295},{"_type":199,"blank":15,"func":200,"type":201},{"_type":17,"asset":1293},{"_ref":1294,"_type":20},"image-9e1e7b187a05c8753bbd31f919d4002ba028d041-3000x4000-jpg",{"_type":27,"autoplay":28,"controls":15},{"_type":194,"color":195,"image":1297,"media":1302},{"_type":197,"cta":1298,"image":1299,"type":17,"videoSettings":1301},{"_type":199,"blank":15,"func":200,"type":201},{"_type":17,"asset":1300},{"_ref":1294,"_type":20},{"_type":27,"autoplay":28,"controls":15},{"_type":197,"cta":1303,"image":1304,"type":17,"video":14,"videoSettings":1307},{"_type":199,"blank":15,"func":200,"type":201},{"_type":17,"alt":14,"asset":1305,"crop":14,"dimensions":1306,"hotspot":14},{"_ref":1294,"_type":20},{"_type":22,"aspectRatio":153,"height":25,"width":24},{"_type":27,"autoplay":28,"controls":15},[1309],{"_key":1310,"_type":221,"media":1311,"modules":1318},"c798cf76fbf5",{"_type":197,"cta":1312,"image":1313,"type":17,"video":14,"videoSettings":1317},{"_type":199,"blank":15,"func":200,"type":201},{"_type":17,"alt":14,"asset":1314,"crop":14,"dimensions":1316,"hotspot":14},{"_ref":1315,"_type":20},"image-abc04d69939a92a66ddda80a5577b4905b5bf4b6-5000x3750-jpg",{"_type":22,"aspectRatio":23,"height":229,"width":228},{"_type":27,"autoplay":28,"controls":15},[1319],{"_key":1320,"_type":34,"text":1321},"7b75f31151d6",[1322,1348],{"_key":37,"_type":38,"value":1323},[1324,1332,1340],{"_key":1325,"_type":42,"children":1326,"markDefs":1331,"style":67},"afd684f03257",[1327],{"_key":1328,"_type":46,"marks":1329,"text":1330},"e166ab02ede0",[243],"Halle 09, 2025",[],{"_key":1333,"_type":42,"children":1334,"markDefs":1339,"style":67},"392f6d49826d",[1335],{"_key":1336,"_type":46,"marks":1337,"text":1338},"d32744443d7c",[],"Installation, Diaprojektor, 40 Dias",[],{"_key":1341,"_type":42,"children":1342,"markDefs":1347,"style":67},"a464202b6a55",[1343],{"_key":1344,"_type":46,"marks":1345,"text":1346},"79daa25d9ecc",[],"Die Arbeit untersucht die Dialektik zwischen physischer Ausstellung und ihrer bildlichen Repräsentation. Kai Werner Schmidt nimmt seine Fotografien der Halle 09 und mit Hilfe von KI lässt er aus diesen Installationen und Skulpturen eine Ausstellung entstehen. Er lotet die Möglichkeiten und Grenzen zwischen menschlicher Kreativität und maschineller Bildregenerierung aus. Die KI ist dabei nicht nur noch ein Werkzeug, sondern ein kollaborativer Partner in einem kreativen, experimentellen Dialog. In einer rhythmischen Präsentation von 40 Motiven mittels Diaprojektor, verschmelzen analoge Tradition mit digitaler Innovation. Es stellt sich die Frage von Authentizität im digitalen Zeitalter, was ist Echt und was ist Deepfake. In „The Reconfigured Eye“, ein Standardwerk zu diesem Thema, bemerkte der Architekt und Medientheoretiker William John Mitchell 1992, dass die Digitalisierung zu einer „Entwirklichung der fotografischen Welt“ führe.",[],{"_key":93,"_type":38,"value":1349},[1350,1358,1366],{"_key":1351,"_type":42,"children":1352,"markDefs":1357,"style":67},"4381ae272121",[1353],{"_key":1354,"_type":46,"marks":1355,"text":1356},"2c18e84a6c6e",[243],"Hall 09, 2025",[],{"_key":1359,"_type":42,"children":1360,"markDefs":1365,"style":67},"b07cacab09f9",[1361],{"_key":1362,"_type":46,"marks":1363,"text":1364},"8b0769ecde5d",[],"Installation, slide projector, 40 slides",[],{"_key":1367,"_type":42,"children":1368,"markDefs":1373,"style":67},"cfa626faccce",[1369],{"_key":1370,"_type":46,"marks":1371,"text":1372},"0969a5159460",[],"The work examines the dialectic between the physical exhibition and its visual representation. Kai Werner Schmidt takes his photographs of Halle 09 and, with the help of AI, creates an exhibition from these installations and sculptures. He explores the possibilities and boundaries between human creativity and machine image generation. The AI is not just a tool, but a collaborative partner in a creative, experimental dialogue. In a rhythmic presentation of 40 motifs using a slide projector, analogue tradition merges with digital innovation. It raises the question of authenticity in the digital age, what is real and what is deepfake. In ‘The Reconfigured Eye’, a standard work on this subject, the architect and media theorist William John Mitchell remarked in 1992 that digitalisation was leading to a ‘de-realisation of the photographic world’.",[],"Kai Werner Schmidt",{"metaDescription":1376,"ogImage":1379,"pageTitle":1380,"title":1381},[1377],{"_key":37,"_type":1378},"internationalizedArrayTextValue","https://cdn.sanity.io/images/flivpe74/production/83328ff641f5107e8fc109338bdb236516b55cbc-3000x4000.jpg?w=1200&h=630&fit=crop&auto=format&fm=jpg","Areal Böhler",[1382,1384],{"_key":37,"_type":1383,"value":48},"internationalizedArrayStringValue",{"_key":93,"_type":1383,"value":48},{"_type":1386,"de":1387,"en":1390},"internationalizedSlug",{"_type":1388,"current":1389},"slug","empty-spaces-something-to-believe-in",{"_type":1388,"current":1389},[1392,1394],{"_key":37,"_type":1383,"value":1393},"Begegnungen zwischen Kunst und Raum",{"_key":93,"_type":1383,"value":1395},"Encounters between art and space",{"_type":17,"alt":14,"asset":1397,"crop":14,"dimensions":1398,"hotspot":14},{"_ref":182,"_type":20},{"_type":22,"aspectRatio":153,"height":25,"width":24},[1400,1401],{"_key":37,"_type":1383,"value":48},{"_key":93,"_type":1383,"value":48},1778832962020]