In this section we will publish and answer some of our reader’s questions that might be of interest to other users of our online-journal.
Man and Environment
Born in Japan in 1978, the painter Ryo Kato has lived and worked in Berlin for more than 15 years. His work
Since media are often applied in scientific and artistic processes, this essay offers an insight into joined features and hidden relationships between visual media such as
Mischa Kuball: “The idea [of New Pott] was born of my (so-called German) contribution to the 34th Sao Paolo Biennale in 1998 which was curated by Paulo Herkenhoff under the general theme of anthropophagy with reference to the homonym manifesto by Oswald de Audrade from 1927. This manifesto tried to give an answer to the European dominance in the domain of the arts, the Parisian art world pretending that Brazilian artists were copying European modernism. The manifesto replied: No, we will not copy, but guzzle and digest you!”
In conversation with Irene Daum and Peter Tepe the sculptor and painter Thomas Schönauer presents himself as an artist-philosopher. In some of his works he has adopted a science-related approach. In other projects he has collaborated with scientists and engineers.
On August 19th 2017, Karl Otto Götz died at the age of 103. In the time since then, many obituaries have been published, through which his artistic achievements have been widely acknowledged. I will try to discuss my personal contact with Götz, searching through my not-always-perfectly-reliable memory.
malatsion: “Science has influenced quite a few of my works as a source of inspiration. You can classify these works as science-related art. Right after my switch to the academy, my interest in science was for a while pushed into the background. It was only in 2008 that it re-emerged. Science is for me above all a source of images which helps me create installation works that remind their viewers of places such as the laboratory or of scientific methods such as the experiment.”
Gerhard Daum falls into the category of a science-related artist. He bases his work on mathematics, above all on Euclidian geometry, trigonometry and analysis. His approach is experimental, probing different techniques of mathematical construction and then reducing the constructional matrix, while continuously observing the aesthetic effect.
Götz/Rissa in conversation with Irene Daum and Peter Tepe
The famous painter Karl Otto Götz, one of the most prominent artists of Art Informel, also worked as an empirical scientist in the 1960s and 1970s. (…) Visual artists like Karl Otto Götz also frequently pursue literary activities and write poems in particular. However, a visual artist who works professionally in the field of science – in this case as an empirical psychologist – is very rare. Why was he interested in this type of art-science combination? Why did he decide to conduct psychological research?
Mischa Kuball: “I do not perceive myself as a double-competent cross-over worker between science and art, but rather as an artist who is working transdisciplinary. As an artist, I contribute to certain scientific research projects. Particularly, there are cooperation projects with the neurosciences neuropsychology and neurophysiology.” …
The terms Space Art or Astronomical Art (I prefer the latter) are used for pictorial representations of aspects of the cosmos or the universe. Obviously, Astronomical Art also allows to represent utopias, but always on the basis of the current state of research in natural science. “Beam me up, Scotty” remains Science Fiction. It has to do with science and cultural history, with technology and last but not least with Man, who has always felt the urge to leave planet Earth and to explore the universe. …
At a time when copyright issues are debated ever more heatedly, an artwork titled True Copy may appear as more than a slight provocation. Above all, its aesthetic play on the legal, ethical, as well as ontological and epistemological dimensions of copying challenges us into re-considering some of the most pivotal questions surrounding truth and originality: What is a copy? When is this copy a true copy? How do (true) copies relate to their original/s?