Kristijane Baumgartner | Christiane Baumgartner
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Christiane Baumgartner Image 1   Christiane Baumgartner Image 2
A2, Abzweig Lehrte I, 2006


Born in 1967 in Leipzig, Germany
lives and works in Leipzig

www.echolot-berlin.com

A2, Abzweig Lehrte I, 2006
© Christiane Baumgartner at VG Bildkunst Bonn 2006
photo: Scan Color, Leipzig

The video material for many of my works was shot over the past years while driving on European highways. Whereby it is more or less arbitrary which kilometer of the highway is captured on the digital picture. What mostly sparks my interest is an especially beautiful composition of asphalt, road markings and vehicles; then the camera remains fixed for several minutes on the landscape behind the windshield or the side windows. Later when working on the computer, I choose the “ideal image” from an archive that has in the meantime grown to over one million pictures. Then for one picture or sometimes also one picture series I devote weeks and partly months of my time to carving it, using a grid of lines, with exacting accuracy onto a wooden panel, which I subsequently print by hand.

Along with the process of the “retrograde step” and artificial slowdown, what is important to me is the interaction between the digital and the analog medium. Digital information is information that is calculable with only two variables and explicitly portrayable at any time. We use the speed of light for transmitting it and now thus experience a situation in which our culture and identity have been so overtaken by velocity that our limited senses no longer correspond to the tempo of information transmission.

Christiane Baumgartner, 2006

English: Jeanne Haunschild

Rođena 1967. godine, živi i radi u Lajpcigu

www.echolot-berlin.com

A2, Abzweig Lehrte I, 2006

Videomaterijal za veliki broj mojih radova iz proteklih godina sniman je tokom vožnje evropskim autoputevima. Pri tom je skoro nebitno koji se kilometar autoputa ovekovečuje na digitalnom nosaču slike. Moje interesovanje mahom pobuđuje neka posebno dopadljiva kompozicija sastavljena od asfalta, horizontalne signalizacije i vozila, da bi, zatim, kamera nekoliko minuta ostala okrenuta ka pejzažu iza prednjeg, odnosno, bočnog stakla. Kasnije, na kompjuteru, iz arhive koja je, u međuvremenu, narasla na više od milion slika, odabiram “idealnu sliku”. Potom, toj jednoj slici, ili seriji slika, posvećujem nedelje, katkad i mesece svog vremena, urezujem je, u linijskom rasteru, do najmanjeg detalja, u drvenu ploču, a kasnije je ručno štampam.

Osim procesa “regresije” i veštačkog usporavanja, bitno mi je i naizmenično poigravanje digitalnim i analognim medijem. Digitalna je ona informacija koja se može izračunati pomoću samo dve promenljive veličine, i u bilo koje vreme nedvosmisleno prikazati. Mi koristimo brzinu svetlosti kako bismo prenosili svetlost i, u istom trenutku, doživljavamo situaciju u kojoj je brzina do te mere pretekla našu kulturu, i naš identitet, da naša ograničena čula više nisu pogodna za takvu brzinu prenošenja informacija.