Course offer Bachelor Program

  Copyright: Friedrich   Sketch of plastic bag Copyright: KG   Form and counterform Copyright: Friedrich

Space Entanglements/GuD2


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  Copyright: Lara Rhabani, 2019   Photography of a church window Copyright: Dominik Mohs

Drawing as kinesthetic memory protocol

How are our perceptions changed by our movement in space, how are we moved through spaces? Attention to space is determined by influences on all our senses from the environment, but also by our inner attitude and by our own physical and mental actions and reactions. We want to explore the complexity of this interaction by drawing in the meticulous self-documentation of our own 'state of mind' (Böhme) as a mutual mood of space and subject. Spatial experience is then not only translated as the result of visual (photographic) perception, but also recorded quasi 'seismographically' as a spatio-temporal interaction of body and senses in movement. In this way, we can also change perceptions, even: (de-)construct them, for example by creating filters, distorting scales, introducing disturbances, increasing transparency or recording synaesthetic superimpositions of different perceptual perspectives on space.

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  Form and counterform Copyright: Friedrich

Form - Counterform/EM

Moulding as an experimental method between alienation and interpretation
Moulding is known as a method of reproducing models and subsequently producing things. Household articles, machine parts or food, almost everything that has a mould comes from a mould.
Reproduction as an artisan technique produces the original, the artistic unique specimen, or the edition or series. The previously created model is usually not considered the original.
However, the principle of form and counter-form can be much more: an independent artistic method of material exploration, form finding, alienation, representation, abstraction and interpretation. The method can even have destructive tendencies.

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  image of computer screen Copyright: Hochschuh/Donovan   Copyright: Hámos