The Way Home I, 2008
Site-specific Installation: Video projections, painted wooden panel, wooden laths, MDF panels, paper, glass, poem, xerox copies, loudspeakers
Photo 1,2,4,5: Double video projection on vintage photo frames,wood block, loudspeaker, wood and paper, 7' & 15' DVD loop, with sound;
Photo 3: Video projection on hardboard, 2' 50" DVD loop, wooden laths
Site-specific Installation: Video projections, painted wooden panel, wooden laths, MDF panels, paper, glass, poem, xerox copies, loudspeakers
Photo 1,2,4,5: Double video projection on vintage photo frames,wood block, loudspeaker, wood and paper, 7' & 15' DVD loop, with sound;
Photo 3: Video projection on hardboard, 2' 50" DVD loop, wooden laths
Solo exhibition, Safe, Dalfsen NL
Photos: Details of the installation
Gartz made The Way Home I at a former nuclear bunker in the Dutch municipal of Dalfsen. The installation holds a minimum of colour. The space, neither light nor dark is set in grey light and has a overall static setting. Because the shelter is build under the ground no daylight ever gets in. The air from outside is filtered against nuclear radiation. The air in the spaces is standing still. The later build separate spaces hold illogical corridors and corners, which competes the feeling of a disorienting place.
A sculpture by Gartz from thin wooden laths reaches to the ceiling and forms an inverted triangle. The void between collages, wooden panels, projections and architecture is just as important as the elements themselves. The totality is both comforting and uncomfortable. It moves between contemplation and disturbance, coldness and proximity, life and death. The trance-like soundtrack, an electronic track by composer Barbara Morgenstern, occasionally disrupts a more chaotic part, containing fragments of a popsong by Muse, with drums, electric guitars and a haunting voice.
Photos: Details of the installation
Gartz made The Way Home I at a former nuclear bunker in the Dutch municipal of Dalfsen. The installation holds a minimum of colour. The space, neither light nor dark is set in grey light and has a overall static setting. Because the shelter is build under the ground no daylight ever gets in. The air from outside is filtered against nuclear radiation. The air in the spaces is standing still. The later build separate spaces hold illogical corridors and corners, which competes the feeling of a disorienting place.
A sculpture by Gartz from thin wooden laths reaches to the ceiling and forms an inverted triangle. The void between collages, wooden panels, projections and architecture is just as important as the elements themselves. The totality is both comforting and uncomfortable. It moves between contemplation and disturbance, coldness and proximity, life and death. The trance-like soundtrack, an electronic track by composer Barbara Morgenstern, occasionally disrupts a more chaotic part, containing fragments of a popsong by Muse, with drums, electric guitars and a haunting voice.