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Museum Ritter Museum Ritter
Deutsche Version
SQUARE
(18.09.2005 - 23.04.2006)
Bildertausch 1
(21.05. - 03.10.2006)
Marcello Morandini
(21.05. - 03.10.2006)
Movement in a Square
(22.10.2006 - 15.04.2007)
Davide Boriani
Waltraut Cooper
Carlos Cruz-Diez
Gerhard von Graevenitz
Dieter Jung
Victor Vasarely
Mader|Stublic|Wiermann
Vera Molnar
Bridget Riley
Sabine Laidig
Sabine Straub
Jean Tinguely
Vadim Kosmatschof
Bildertausch 2
(06.05. - 30.09.2007)
George Pusenkoff
(06.05. - 30.09.2007)
New Friends
(28.10.07 - 20.04.08)
Geneviève Claisse
(28.10.2007 - 20.04.08)
Dieter Jung
 
1941 born in Bad Wildungen
lives and works in Berlin
 
Mobile XYZ, 2003
Spring steel, holograms
160 x 260 cm
When it comes to mastering the subject of movement by artistic means, there can be little argument that Jung’s work brings together the maximum number of possibilities. Doubtless it is generally considered that since Alexander Calder, the mobile is probably the most compelling solution in the search for an artistic form that integrates movement and change into the work. Calder himself described his aims as follows: »Why not plastic forms in motion? Not a simple translatory or rotary motion but several motions of different types, speeds and amplitudes composing to make a resultant whole. Just as one can compose colors, or forms, so one can compose motions.«

Jung has increased the kinetic potential of the mobile by employing holograms in which not only the colours change according to the angle they are looked at, but also the forms that have been etched into their surfaces by a laser. In addition to plastic motion comes visual motion as well. And over and beyond this, depending on the angle of the light the holograms also reflect coloured light back into the surrounding space and thus create a second composition of moving lights on the walls. While the latter is reminiscent of Moholy-Nagy’s »Light-Space-Modulator«, the possibilities it offers for changing its environment by far outstrip those of the work of the Bauhaus master. In this way Jung allows the sculptural and the visual levels to interpenetrate, so that the unity that Calder conjured up is at last resolved in a form that must be redefined and grasped anew in every moment.