To what extent does the quality of movement of the virtual world influence real sequences of human movement?
Will the real world of the 21st century assume via nanotechnology attributes of the virtual world?
Are there still significant differences between a body that is made of synthetic material and warmed artificially and the deep glow of trillions of living cells?
VIVISECTOR is an examination of the different speeds of people/nature and technology/information society and of their acceleration; an experiment to overcome the space-time continuum in the real world. It breaks the linearity of movement and in doing so shows the absurdity of momentum.
Based on the video-technological concept of the moving body-projection that made D.A.V.E. an international hit, VIVISECTOR now goes one step further: the exclusive concentration on video light and video projection produces a new stage aesthetic in which light, body, video and acoustic space form an unprecedented unity.
direction, video art, music
Tom Hanslmaier (A), Chris Haring (A),
Olaf Reinecke (D), Robert Tirpak (SK)
VIVISECTOR investigates and transcends physical boundaries by means of video-technological expansion, whereby it considers body language, dynamics, speed and physical presence from new choreographic aspects:
• Granulation and temporal reordering of movement
• Simultaneously experiencing virtual and real
• Repeal of physical stasis
• Deconstruction of the body
• Interventions into organic structures via video
• Virtual suppleness as a distillate of physical
At last reality only exists as a projection of light. We are distances of light. All technology is late sun-cult.
RINGLOKSCHUPPEN/Muelheim a. d. Ruhr
Kulturamt der Stadt Wien
Bundeskanzleramt Austria, art section
vivisector intervention in the sweating body
Klaus Obermaier and Chris Haring