EINSTELLUNGSRAUM e.V. Sylvia Schultes Morphologische Fragmente I

III. Why all this and why here in the EINSTELLUNGSRAUM ?

The year project 'shared space' deals with processes in which not only human behaviour interacts between oncological disposition of humans, technology, social and political matters, but also even approaches by artists are offered because those are potentially able to visually represent ways of thinking and designing because of the tradition of arts and the universal standard arising from this tradition. Through their history artists are predestinated and have the ability to conform to the standard that lies in the interdisciplinary. To give such development space and to accompany these with an engaged audience con- forms to the interests and program of EINSTELLUNGSRAUM e.V.

IV. Projection instead of model

Sylvia Schultes assembled three conglomerates from glasses and hang them up in the room. Stemmed glasses for wine, liquor and cocktails are flexibly connected to skeletons of lampshades with caoutchouc rings. The latter are simple geometrical bodies and form the base for the objects. The lamp shades on their own, without the glasses, remind one of old bottle dryers and with that the famous bottle dryer is mentioned which as a 'Ready made' was channeled by Marcel Duchamp into the museums of the world and with that art history. I'd like to draw on this work to conduct a thought which makes aware that these objects correspond with the yearly theme 'shared space' and a part of the exhibition title of this exhibition: 'Schwarm'.

A bottle dryer is a cone-shaped flat band metal strap assembly with sol- dered-on hooks onto which the bottles are put upside down to dry. Marcel Duchamp had a photo taken which shows the bottle dryer with the shadow casted on a plain. This projection of a three-dimensional object onto a two-dimensional plain is a reflection of the possibilities of perspective thanks to which the artists succeeded to gain appreciation as scientist. Because the perspective was a partial field of mathematics the artist painters gained the advancement from craftsmen to academics. Thus perspective revolutionized the complete practise of art 500 years ago with an aftermath for the status of artists up to today. As is well-known perspective made it possible to project a room onto a plain considering the laws of optics. In analogy to this Duchamp imagined to view an object, thus a 3-dimensional body, as the projection of the

III. Why all this and why here in the EINSTELLUNGSRAUM ? The year project 'shared space' deals with processes in which not only human behaviour interacts between oncological disposition of humans, technology, social and political matters, but also even approaches by artists are offered because those are potentially able to visually represent ways of thinking and designing because of the tradition of arts and the universal standard arising from this tradition. Through their history artists are predestinated and have the ability to conform to the standard that lies in the interdisciplinary. To give such development space and to accompany these with an engaged audience con- forms to the interests and program of EINSTELLUNGSRAUM e.V. IV. Projection instead of model Sylvia Schultes assembled three conglomerates from glasses and hang them up in the room. Stemmed glasses for wine, liquor and cocktails are flexibly connected to skeletons of lampshades with caoutchouc rings. The latter are simple geometrical bodies and form the base for the objects. The lamp shades on their own, without the glasses, remind one of old bottle dryers and with that the famous bottle dryer is mentioned which as a 'Ready made' was channeled by Marcel Duchamp into the museums of the world and with that art history. I'd like to draw on this work to conduct a thought which makes aware that these objects correspond with the yearly theme 'shared space' and a part of the exhibition title of this exhibition: 'Schwarm'. A bottle dryer is a cone-shaped flat band metal strap assembly with sol- dered-on hooks onto which the bottles are put upside down to dry. Marcel Duchamp had a photo taken which shows the bottle dryer with the shadow casted on a plain. This projection of a three-dimensional object onto a two-dimensional plain is a reflection of the possibilities of perspective thanks to which the artists succeeded to gain appreciation as scientist. Because the perspective was a partial field of mathematics the artist painters gained the advancement from craftsmen to academics. Thus perspective revolutionized the complete practise of art 500 years ago with an aftermath for the status of artists up to today. As is well-known perspective made it possible to project a room onto a plain considering the laws of optics. In analogy to this Duchamp imagined to view an object, thus a 3-dimensional body, as the projection of the	4th dimension. This connection is touched by Schultes' object; because a bulb glows in their interior which projects the glasses, that are arranged around it, onto the surrounding walls, ceiling and floor. Because here the objects move and their shadows criss-cross each other on their paths it leads to a manifold more complex projection than a simple cast of shadow by a fixed object irradiated from the exterior would offer. In addition the glasses are transparent and break the light so that each filament produces whole troops of manifold broken and each other criss-crossing light rays which multiply, overlap and surround the shadows of the glasses bodies with an aura. A complex - retracing the path of Poe's man in the masses - movement through space and time would be possible to represent in this system for example by the path of a dot along the light or dark lines at the shadows of two projections that over- lap each other. Without the light it is possible to understand the objects as models. For example they could represent atomic nucleuses, viruses, cluster of stars or multi-cellular beings which nowadays circulate as two-dimensional represen- tations. But the objects as models would not do justice to the complexity given by the projections. Besides that a projection is not a model. Whilst models make visible a correlation that is eluded from view by projections it is possible by a visual or other precedure to represent movements of an object that exists in another dimension. Several stemmed glasses with variously thick bent areas and glass cylinders disperse here the multiple refracted light in all directions and produce a com- plex entity that is interlaced within and becomes visible on the walls, the ceiling and the floor of room. Because of the objects being pivotable and because they can swing various movements overlap which brings time into play as an additional dimension and it multiplies all aspects. The large number of emerging patterns and overlapping projections demands too much of our brain so that we cannot envision simultaneously the 4th dimension; unless we imagine a spot that moves in the net which is formed from the projections of two of Schulte's shades. This spot could migrate seamlessly from one entity to another and represent a complex zigzag movement. 'n' dimensions can so be represented indeed but remain completely irrelevant in relation to the view. Supposed we would accept that time is an illusion*** then all on the wall representable spots would be able like a swarm to represent a complex three-dimensional image, the patterns of which would have to be compressed in meditation or trance - a condition in which the alpha waves dominated seeing.
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	*** The End of Time. The Next Revolution in our Understanding of the Universe. London 1999
Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek