CLUSTER, the next generation of Kurt Hentschlägerʼs generative 3D and audio work, is moving the focus onto group behavior and -interaction, particularly looking at swarm phenomena. A simple yet absurd setting is proposed – 3D human characters turn into a school of fish under impossible physical conditions. In the weightless choreography of CLUSTER human figures appear mostly as anonymous particles, as a pulsing, amorphous mass, a cloud of blurry matter from body parts and light. The work is visually fluctuating between realistic and abstract forms.
By its generative nature never fully predictable, CLUSTER describes a meta-organism with decidedly anti-individualistic character. While the 3D characters are of human form, their behavior is not.
The work draws some of its ambiguity from both repetitive, rhythmical elements, as well as from “natural” improvised structures. The bulk of sounds in CLUSTER is rendered by the events driving the work – swarm motion and behavior as well as changes in light and color. A rhythmical grid bonds the individual parts together. Sub bass- and high frequency drones frame the otherwise generatively rendered event driven sound.
CLUSTER goes through several stages, starting out from an abstract primordial “soup”, building into a cloud of blurry semi realistic matter – body parts and light, to eventually arrive at a clearly humanoid cluster, packed tightly, spinning and tumbling through space, bodies glued together by gravity and kinetic forces. Individual efforts to escape the “cloud” are attempted but futile.
Chicago based Austrian artist Kurt Hentschläger creates audiovisual performances and installations. He began to exhibit his work in 1983, creating surreal machine-objects, and since has been working with time-based media, film, video, animation and sound. The immersive nature of his work reflects on the metaphor of the sublime and the human condition. His current work further researches human perception and the impact of new technologies on both individual and collective consciousness.
Between 1992 and 2003 he worked collaboratively as one half of “Granular-Synthesis”. Employing large scale projected images and drone like sound-scapes, Granular-Synthesis performances and installations confronted the viewer on both a physical and emotional level, overwhelming the audience with sensory stimulation.
Selected presentations include the Venice Biennial, the Venice Theater Biennial, National Art Museum of China Beijing, Stedelijk Museum Amsterdam, PS1 New York, Creative Time, Inc. New York, MAC – Musée d’Art Contemporain Montreal, MAK – Museum of Applied Arts Vienna, National Museum for Contemporary Art Seoul, ICC Tokyo, Fondation Beyeler Basel, Arte Alameda Mexico City. In 2010 he won a Quartz Electronic Music Award for his most recent work.