Duration ~ n minutes.
Premiere:
Passagen Cologne, 2010
Large hollow mirrors to illuminate the Herrenhausen gardens were also of particular interest to Gottfried Wilhelm Leibniz, who stated this in a letter to the natural scientist Ehrenfried Walther von Tschirnhaus in 1694. This foresight can also be seen in the architecture of Arne Jacobsen, in which Revolving Realities Redux is performed. It turns away from the established demand for functionality towards form. The landscape of the absolutist Herrenhausen garden combines the beautiful, the useful, the divine and the formal.
Jacobsen‘s foyer, on the other hand, sets the purely formal as an ideal, as central-perspective and symmetrical as the garden, but no longer as a place to be ideas of the beautiful, the useful and the divine. The divine light no longer comes from above.
Revolving Realities Redux takes up this idea with different means: A system of reflections, kinetic light and sound sources that open the dialogue with the architecture of the foyer every day at sunset.
„And just as one and the same city, viewed from different sides, appears completely different in each case, as it is, as it were, reproduced in perspective, so it is correspondingly due to the infinite quantity of simple substances that there are, as it were, just as many Universa, which, however, are only the perspectives of a single universe from the different points of view of each monad. (Gottfried Wilhelm Leibniz in: The Main Works. Monadology, 1967)
„How is it that ‚the world turned upside-down‘ always manages to Right itself? Why does reaction always follow revolution, like seasons in Hell?“ (H. Bey: Waiting for the Revolution, 1991)