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Ulf Langheinrich- LAND IV
Dans le cadre de la biennale "Musiques en scène" à Lyon, le musée d'art contemporain a présenté trois artistes : Heiner Goebbels - invité d'honneur de cette biennale - Morton Feldman membre de l'avant-garde américaine avec le groupe de New York (John Cage, Christian Wolff et Earle Brown) et Ulf Langheinrich.
L'oeuvre méditative, contemplative et immersive d'Ulf Langheinrich, LAND IV, nous invite à un voyage immobile en 3D.
Dans le bruit blanc d'une neige cosmique alternant avec un paysage maritime qui déferle en volumes enveloppants, des sonorités électro soutenues par de basses fréquences servent d'ancrage, ondulant en résonances hallucinogènes encerclent le spectateur.
Immersion dans un univers parallèle, monochrome, minimaliste et fascinant.
Pour autant - et selon l'auteur lui-même - il ne faut pas se leurrer. Piégé dans l'esthétique illusoire d'un artefact rendu possible par la vidéo, la manipulation électronique de paramètres et la production aléatoire de sons, LAND IV ne tient pas sa promesse d'ouverture vers l'infini.
LAND IV est un monde clos, une atmosphère dense précédant le chaos, le vide absolu, l'enfermement dans une esthétique sans issue, bien qu'étrangement attractive...
Ulf Langheinrich - Land
LAND 2008-2010
LAND is a core work in my recent artistic research into the nature of the digital illusion. LAND consists of two major elements, the recording of wave formations on the shores of Accra/Ghana and waves of particle-system formulas and fractal-noise calculations. By altering some parameters in the recorded material as well as in the generative formula of the noise a dense matter metamorphoses into various recognisable structures and consistencies.
This material is considered a primal substance; a few fundamental algorithms that are an integral part of digital image construction. It is played back on machinery that is meant to allure the viewer into enjoyment of virtuality. By developing an immersive illusion that is supposed to be limited only by the imagination of the inventor, the reality of the digital environment; its systematic and limits are revealed and clearly displayed. There is a specific beauty in the mathematically strict monotony that is unique to digitally created and processed material. Its subtlety in high resolution challenges the strictness, flaws and idiosyncrasies of projection equipment. In fact, the awareness of this has become a crucial part of my artistic research: There is a friction between the intend to touch trough a sensual art experience and the inevitable laws and constrains of software and hardware based “media-art” (as opposed to the endless possibilities promised..).
LAND is an attempt to create the illusive: the immersive and sublime feel of uncertainty through sound, projected virtual matter and time. This approach to visual creation is based on my expertise in sound and eventually another form of sonic imagination. Behind this cold, technological and synthetic reality, there may be something viscerally warm: something profound. Land is a territory close to such qualities, but not there. It is a promise a tensed state of denial of the promised.
Thus, LAND is a negative land, a moulding and shaping of digital grey; a dense area before the final empty, before the nothingness. It is a land before a wall, a homeland for today.
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