MOSI
About the Museum of Superior Installation, Braunschweig, Germany Büssing Höfe
DE: Eine bestimmte Räumlichkeit im Basement der Heinrich Büssing Höfe, Wolfenbütteler Straße 31a wird Ausstellungsfläche, eine Plattform für den Raum im interdisziplinären Feld, ein Museums-Feld, das verschiedene Formate anbietet, die kulturinteressierte BetrachterInnen einbinden und in der kreativen Beteiligung begleiten. Das Basement ist auch Keller mit architektonischen ‘Wunden’, indem sich Plastikwannen mit Regenwasser füllen.
Das MOSI, Museum of Superior Installation hat eine kurze Geschichte innerhalb einiger langen, unbekannter Geschichten. Die Entstehung eines Depots (2023) der Dinge, der Sammlungen, Kunstwerke und Maschinen aus einer unbestimmten Zeit, von unbestimmten Urhebern des 20.Jahrhunderts.
Was eingelagert war kam zum Vorschein, wurde sortiert und geordnet und verbleibt als MOSI Bestand sichtbar, bezeichnet als DEPOT.
Die lange Geschichte gründet sich auf Heinrich Büssing (1843 – 1929), die Höfe in Braunschweig, der Ort der Erfindungen und des räumlichen Wahrzeichens.
Konzeptionelle Notizen:
Gegenwartsbezug zum Begriff – Sammlungen und Bewusstseinsphase des Erinnerungsvermögens
-Stellung des Betrachters, der partizipatorische Betrachter
- Recherche über neue Definitionsmöglichkeiten von Chaos und Ordnung im Anbetracht einer unkonventionellen Wahrnehmungsgabe. Dies bedeutet Umdenken im Angesicht der Erwartungshaltungen bezüglich Veränderung und Konservierung
Aktivität steht im Vordergrund
- Nichts bleibt wie es ist oder wie es einstmals war
EN: A specific space in the basement of the Heinrich Büssing Höfe, Wolfenbütteler Straße 31a, will be an exhibition space, a platform for space in the interdisciplinary field of contemporary art, a museum field, which offers various formats to involve viewers and accompany them in their creative participation. The Basement is also a cellar with archictectural ‘wounds’, plastic basins collect the rain water.
The MOSI, Museum of Superior Installation has a short story within a few long stories. The creation of a depository (2023) of things, collections, works of art and machines from an indefinite time, from indefinite authors of the 20th century. What had been stored came to light, was sorted and organized and remains visible as the MOSI inventory called the Depot.
The long history is based on Heinrich Büssing (1843 - 1929), the “Büssing courtyards” in Braunschweig, as the place of inventions and the spatial landmark.
conceptual notes:
Contemporary reference to the term - collections and the consciousness phase of memory-position of the viewer, the participatory viewer- Research into different ways of defining chaos and order in the light of unconventional perceptual abilities. This means re-thinking enface of expectations regarding change and preservationActivity is the priority
- Nothing stays as it is or as it ‚once‘ was
During global Pandemic Experiences
2020
about an artistic endeavour
In Avoidance, Rejection, Denial and Failure in this matter of - cause and effect- ,
when noticing the awareness level and interrupting those chains of expectations, truly this changes in different situations as for the most part the expectation levels alter in different stances:
As I am the artist, object maker, producer, curator, Performer really then it all results in the understanding
- It is what it is - .
I can not reject the temptation to slither into the hypothetical spectator’s role, at times, that of sharing bodily statements, that of sharing assumptions and then observing change to stride a metaphysical stance.
The particular and the peculiar at all times challenges the apparent
differences of relationships in the catharsis of unpredictability.
What if there is no before and no after for a moment of being present. - then un-reflected exposure is already concerned with change and defiance at the same moment in space.-
Then the trial of following begins.
© Glausnitzer-Smith, Braunschweig 2020
The Purge
Vertical Purge
The project vertical purge is inspired by the location-scape of the body within a restricted area. In the werftraum system, (http://www.werftraum.org/) the room , which is not yet established online as named location was established conceptually on 22 March, 2020 at 3 pm, in the presence of the radical signs of the Corona Pandemic consequences which at that time were still less transparent than they are today.
The safety within the individual artistic compound is less than safe since some actions, such as in ‘vertical purge’ (the video: https://vimeo.com/408837238) lead to a short moment of suffocation at the end of 20 min. handling blue plastic. The sudden occurrence of panic gave awareness to the side-effects of isolation. This was revisited in the work - released grounds -.
The experience of thinking - The Purge has lead my situation towards the desire of doubt.
Vertical Purge has become a process of photography, video and drawings and allows for the research on an ongoing process until perhaps it dissolves in the horizontality of inner landscape.
© Glausnitzer-Smith, Braunschweig 2020
Notizen zu Rêverie
DE: Es ist das Licht, das sich mit der Natur trifft und der visuellen Erfahrung eine Chance gibt, dass die Dinge sichtbar werden, um sie zu differenzieren. Die Unterschiede liegen in den Bereichen: hell und dunkel; das bedeutet im Licht erschienen und in der Dunkelheit verborgen.
Im Sehen ergibt sich als dann ein scheinbares Schichten: Vordergrund (dunkel), Mittelgrund (hell), Hintergrund (dunkel).
Das Licht hebt die Zeit auf. Erst im Licht wird Veränderung deutlich und die Unterschiede sind Indizien für ein ‚Weiter, ein ‚Anders’.
Auch im Tagtraum wendet sich der Geist dem Licht zu, da hinein ist die Vernunft geblendet und entlässt die Gedanken in die Vorstellungskraft, um frei zu sein für zeitloses ‚sinnen’.
Unkontrollierbare Bewegungen scheinen sich der Körper Koordination in die Quere zu stellen. Doch nur so kann der Geist dem Körper folgen und langsam verstummt der Grund, und der Sinn gesellt sich dem Nebel.
Der Wille schläft ein und die Seele wird wach.
EN: It is the light that meets with nature and gives the visual experience a chance to make things visible to differentiate them. The differences lie in the areas: light and dark; that means appeared in the light and hidden in the darkness.
in the act of seeing, there is then an apparent layering: foreground (dark), middle ground (light), background (dark).
The light cancels out time. In the light change is clear and visible and differences could be indications of evolution.
During daydreams, the mind turns to the light, where reason is impaired and thus releases thoughts into the imagination.
Uncontrollable movements seem to get in the way of the body's coordination.
This is the only way the mind can follow the body and slowly the mind falls silent and the meaning joins into fog.
The will falls asleep and the soul awakes.
© Glausnitzer-Smith, Braunschweig 2012
Paper Walk Paper Talk XIII
Seethed-Placid
Text by George Themistokleous about Dagmar I. Glausnitzer-Smith, Live Performance Cyprus 2017
A garment held up by a branch, hovers along the centre of the gallery space. The artist, holding a cane, with a flashlight attached to her head and wearing a raincoat scans the ground. As the overhanging garment slightly dangles the body magnetically responds to its movement. Shedding the raincoat, the body becomes immersed within the hanging garment. Messages unfold from the garment as bodies ( body of fabric, a body of flesh. A body of meaning) interact; this follows with the artist unrolling a large sheet of paper, piercing through it, (with hands and feet) then a rolled up crumbling action and the artist flees into the darkened streets of Nicosia nightfall. (then throwing it away).
As one skin is shed and superseded by another, my understanding reaches an impasse.
A cleavage is formed in my perceptual experience of the event. This cleavage occurs at the momentary interstice between what is conceived and what is imagined or presented.[1] As my cognitive faculties fail (me), they are overwhelmed by the unexpected juxtaposition of bodies. Conventional forms - objects - are purged of their signifying status, shifting any pre-conceived expectancy out-of-focus. Any sense of a sensory-motor functioning is outstripped from all sides; response to action dissolves. The vicissitudes of the space-in-between bodies absorbs me. The image is ‘without metaphor, [it] brings out the thing in itself…’[2] Any notion of centre dissipates, what is set in motion are vectors of possibilities. Am I at the centre of my perceptual framing? If my perceptual framing is unhinged, then I no longer retain from the image what is of interest to me. Instead my perception is encapsulated from all sides – it becomes immersed in an image, an image that only retrospectively becomes formulated as an ‘image of thought’. In the interstices, a relation field of intensive space marks a liminal zone. What is grasped through the paradoxical reversal of perception on itself, is a glimmer of the un-thought… what is concealed from thought yet returns to it…
[1] Jean-Francois Lyotard, ‘The Sublime and the Avant-Garde’ in The Inhuman (Cambridge: The Polity Press, 1991 [1988]): 98
[2] Gilles Deleuze, Cinema 2: The Time Image, translated by Hugh Tomlinson and Robert Galeta (London: Bloomsbury Academic, 2013 [1985]): 21.