Beta Facts
Duesseldorf, 2022
Space installation: seven degrees inclined 4.2 x 7 m walls, 5 x hided speakers, fragile floor, Crack in the connection on three walls video, wooden sculpture

Video Link:

In the room installation Beta Facts, the door is opened as a slit; at the same time, the viewer enters and is confronted with a huge white wall tilted at seven degrees, seven meters long and four meters high. The wall is flanked on both sides by corridors, allowing the viewer to enter a dark, open space from the corridor on the right, while the entrance wall shows signs of vandalism and destruction.
An image is projected on the left wall; at the same time, the sound of the video comes from all sides. A deeper cut indentation runs through the three walls of the original room. The floor is intentionally raised four to six inches to create a scene of cracks that appears to have been created by natural disasters. The cracks in the floor are further damaged and broken by the weight of visitors’ footsteps. Earth blocks, lamps - which lie on the ground like giant insect eggs - plants and constructed seating are by another artist: Fabian Frieze. It all adds up to a prophetic and abstract, post-catastrophic and dystopian scene.

The projected moving images are cut together from web graphics, 3D animations and live actions, while some of the sounds are intentionally muffled and indistinctly placed in the earth blocks to represent an anonymous, “pixelated,” virtual corpse. The artist’s expansive approach explores architectural suffering and virtual death, specifically how virtual identities of death are constructed, and seeks to materialize the virtual nature of contemporary catastrophes and digital warfare by responding in a sensitive, yet unflinching way to self-perceptions and other-perceptions of (physical) suffering.

Die projizierten Bewegtbilder sind aus Webgrafiken, 3D-Animationen und Live-Actions zusammengeschnitten, während einige der Geräusche absichtlich gedämpft und undeutlich in den Erdblöcken platziert werden, um eine anonyme, „verpixelte”, virtuelle Leiche darzustellen. Der raumgreifende Ansatz des Künstlers untersucht architektonisches Leiden und virtuellen Tod, insbesondere, wie virtuelle Identitäten des Todes konstruiert sind, und versucht, die virtuelle Natur zeitgenössischer Katastrophen und digitaler Kriegsführung zu materialisieren, indem er auf sensible, zugleich unbeirrte Weise auf Eigen- und Fremdwahrnehmung (körperlichen) Leids reagiert.