The installation "Der negierte Raum" deals with two issues: the relationship between reality, image, text and simulation with regard to the problem of representing an architecturally defined space. The installation's point of departure is an exhibition space "equipped" at various times with pictures or objects which have a special meaning in a cultural context.

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The installation was developed in various phases. First, a photographic documentation of the empty room was made, during which every wall was photographed separately. The resulting pictures are in the computer in digital form and have been processed in various ways. At first, the binary data of the pictures' contents were interpreted in the computer as an ASCII text, printed onto white paper and hung in the exhibition space as wallpaper. The difficult relationship between the pictures' magical power of imagination and the linear, conceptual nature of the text are translated directly in a ratio of 1:1 by means of the computer's interface and solved in the form of a paradox.

final room detail


Sunk in this unintelligibly semantic ocean of characters, a wire model of the room is placed in the middle, on a platform which is open on top. Within the platform, shoved back somewhat, is a small rear projection screen. The viewer can look through the model and see the images of a computer animation sequence on the screen.

detail

The source of this sequence is a miniature video projector placed inside the platform and below the screen. In this video, the digitalized photographs of the room form the walls of a simulated computer model.

A spatial representation is born of this combination, in which the distortion of perspective in the reproductions is mixed with the computer's exact simulation of the room, thereby producing an aspect of dislocation in the representation of the object. A synthetic room is created which ignores the normal border created by the description of Cartesian space, in which the polarizations are made relative and the definition of interior and exterior is only a question of point of view.

(Frankfurt 1994)