ultrasonic generator 500W, 8 PZT-piezoceramic elements , plexiglass cylinder/ 60*8cm, motor , PLC Industrial Electronic , 50*3W Led’s/Lenses and various electrochemicals
Herwig Weiser’s Ambiguous Cut Into Space of Conjecture is an electrochemical projection device. The stroboscopic backlight blinds the viewer, the iridescent colors are jarring. Behind a Plexiglas disc, chemicals that under normal circumstances are immiscible combine and separate again. Ultrasonic exposure and mechanical rotation cause existing bonds to rupture at the molecular level. Unforeseeable configurations arise. The driving force [Bildungstrieb] for the formation of chemical substances attested by Friedlieb Ferdinand Runge is here turned into its opposite: Not the possible, but rather the impossible composition of the employed substances is presented.
Weiser describes his piece as a further development of experimental film. The light source installed behind the test arrangement makes the changing color combinations visible. Unlike photographs or plasma screens, however, these electrochemical processes do not generate images reproducing our world. The piece instead places the visualizing qualities of the chemicals themselves at center stage. Rather than utilizing the possibilities for illusion, it offers a glimpse into the remarkable multiplicity of optical variation. The accidental approach makes manifest the otherwise invisible process of photographic image generation. The interior of the apparatus becomes transparent.
In this free experiment Weiser is pursuing the unpredictability of the original image creation process. Following in the tradition of Georg Christoph Lichtenberg and Johann Wilhelm Ritter, a technical test arrangement is misused to induce autopoietic processes. The thetical functionality of the apparatus is broken down and overcome in favor of an unforeseeable and thus artistic approach.
Yet regardless of all these insights, one element remains hidden from the viewer: The high-frequency sound is unperceivable to the senses. The work is a sound sculpture whose aural expression is not perceptible. Though the ultrasound produces an effect, human sensorial inadequacy prevents its passing through into the viewer’s consciousness. In essence, the piece thus references the mechanisms of apparatus-based manipulation. In its aesthesiophysiological intangibility it thereby goes beyond the usual influence of audio-visual media: The piece simultaneously reveals and conceals.
By Marcel René Marburger
Herwig Weiser, born in Innsbruck/Austria (1969), lives and works in Vienna. In works like the machine installations, zgodlocator (2000/2002), Death Before Disko (2006/2008), and Lucid Phantom Messenger (2008/2011) Weiser explores the mechanisms and effects of contemporary artefacts. Based on the unpredictable artistic experiment he transforms image-processing devices into autopoietic sculptures. Weiser studied at the Gerrit Rietveld Academy Amsterdam, and at the Academy of Media Arts Cologne. His works have been shown in exhibitions across Europe, North America, and Asia, including the Lentos Kunstmuseum Linz, the Museum of Contemporary Art Taipei, the Nam June Paik Art Center,South Korea ,Kunsthaus Graz and at Art Basel Miami. Among his awards are the Hermann Claasen Award for Photography and Media Art (Cologne, 1999), Special Award at the Festival of New Film (Split/Croatia, 2000), Transmediale Award (Berlin, 2001), the Nam June Paik Award (Düsseldorf, 2002) and numerous production grants, amongst others Dock e.V / Hauptstadtkulturfonds Berlin (2010)
Thanks to: Dr.Wolfgang Hansal, Dr.Selma Hansal/Happyplating, Wendelin Weingartner/Senrad Inc., Albert Bleckmann, Axel Mays, Johannes Fürst, Dock e.V/Berlin, TEKS Trondheim Electronic Art Center