Luginsland

Spatial Installation

Vertical seismometer with analogue recorder, 3-component seismometer with digital storage unit, chair, brackets for seismograms, open window, 180 x 400 x 75 cm
Documentation: Analogue seismogram, CDs with audification of measurements

2006

Luginsland

Technical basics
Luginsland (Belvedere) consists of two seismometers, which are set up next to each other on the floor. The first seismometer analogously records the floor vibrations over the entire duration of the exhibition on laid out sheets of paper; the other samples the same signal at 20 Hz for subsequent acoustic processing. The latter is accelerated by a factor of 700 and burned onto a set of CDs.

Artistic concept
The work Luginsland constitutes a culmination of interests: on the one hand, it explores the question of the interior and the exterior of the White Cube. Is the museum a natural place or not? What does the world look like from here? I am also interested in the seismogram as a means of recording time and, specifically, as a kind of musical score for the audified measurements. When will the next vibration occur? What form will it take? How does each individual event fit into the overall pattern of the other events? And finally, the installation focuses on the overlaying of various horizons: floor vibrations caused by the visitors inside the building, by the city’s traffic and by global tectonic activity. In Pre-Emptive I was able to prove with Luginsland that the parquet flooring in the Kunsthalle Bern also oscillates in the event of long-distance earthquakes, occurring, for example, in Poland or in the Kamchatka Peninsula.
Whilst setting up the installation in the Kunsthalle Bern we were surprised to discover that due to its position on a slope of a mountain, the building is slowly splitting into two. The resulting crack in the wall was incorporated as an integral element into the exhibition.

Description in: Florian Dombois: “Kunst als Forschung. Beispiel: Luginsland (2006)”, in 31 – Das Magazin des Instituts für Theorie der Gestaltung und Kunst 8/9 (2006), pp. 57–64.
And cf. also the online version Luginsland (Sound and Score)

nextprev