Bartsch, Christoph


photomontage / animated light box

The current reconstruction of buildings that were destroyed during or after the war and its accompanying glorification illustrates an event that inescapably influences the social culture of remembrance. I visualise these facts and put them up for discussion. Shown on a diaphane, fragments of pictures of blown up and destroyed buildings pile up in a landscape of high mountains and water surfaces. I am mostly interested in the question of sense and usefulness as well as ulterior motives. The Frauenkirche in Dresden may be an attractive, aesthetic, multipurpose object, but has lost its function as a church. And because it only exists in the memory of the present, its history is not restorable.

installations view orginal

installation view

installation view

prenearness / 2010

mixedmedia Installation/HD Video

My thoughts circle around closeness, dependence and searching. I try to illustrate it in my installation – gebrochene Beine – with the interaction of a cinematic and interactive level. In central position, a person walks on an apparently static route through a landscape of sand, that is only interrupted by seemingly casual actions at the side of the road. Those actions give a moment to the central questions. The viewer is at the same time haunter and observer. A feeling of possible influence occurs, the feeling to move and act freely, but the options are reduced to a minimum and leave no space for that. Therefore, a physically exhausting movement develops and in its consequence, the different moments such as dependence and searching spread more and more.

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Installation intervention Transnaturale 09

Landscape in transformation. But how and whereby? For sure, always. Because a time line exists. And space. And matter. Therefore, landscape transforms firstly unplanned and uncontrolled. Man changes landscape consciously, often as a means to an end. For instance, at the Bärwald Lake. Social conditions define the priority of landscape and environment in a wider sense. Our project „VERSYCON“ becomes the (polarising) test (fall of man).
The only definite point is that it is a big affair that puts the casual visitor in an area of conflict between mistrust, decline, belief and hope.
How do landscapes bloom? From which perspective? Which interests are behind it? What compromises is oneready to make?

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2008  transnaturale
2009  transnaturale, 4.Licht Klang Festival
2010  boden_los, Conrad Leipzig
2010  Stipendiatenaustellung, Harburger Kunstverein Hamburg
2010  Projekt 2+1, Galerie Artacker Berlin