Apparat, Kunstverein Braunschweig

Visual Identity for the exhibition APPARAT at Kunstverein Braunschweig in June 2017.

In the 1970s filmmaker Margaret Raspé (*1930) mounted a Super 8 camera on a construction helmet and documented her everyday activities, such as washing dishes, painting, and drawing. As an extension of the eye, the camera records, whatever the artist is focusing on. The filming is happening on the side and turns–by being projected afterwards–into a work of art. “The ‘objectivity’ of the camera’s position does not prevent the films from portraying things from the perspective of different viewpoints predetermined by the artist.” (Margaret Raspé) The viewer is forced to assume the artist’s angle, they see and “move” with Raspé.

The creation of illusion in Raspé’s early works, the shift of perspectives, and the alliance of humans and machines are the starting point for the exhibition APPARAT Technologies of Persuasion. Coming from Margaret Raspé’s camera helmet of a pre-digital time to Daria Martin’s (*1973) film depicting AI-robotics, the kinetic machines of Andreas Fischer (*1972) and the systems and circulations of Jan Vorisek’s (*1987) objects, sound, and resonance, Sandra Mujinga’s (*1989) play with avatars, and Raphaela Vogel’s (*1988) automated drones, the exhibition considers multiple insights into the wide range of contemporary approaches to apparatuses as a means of producing art, expanding human capabilities in the sense of a posthuman man-machine, as an independent system, that creates its own narratives, and as a medium for immersion.

Text by Christina Lehnert
Image by Sandra Mujinga

Visual Identity, Print, Ads, 2017