VANITAS MACHINE装置可满足人们对永生的渴望和延长生​​命的潜力。 VANITAS MACHINE基于蜡烛,通过技术干预将其缓慢燃烧,创造了当代的比喻,类似于在科学和技术的帮助下延长人类寿命的努。VANITASMACHINE是专门为保持蜡烛而开发的»在受控条件下还活着。通过保护其免受环境因素的影,并通过精确地调节氧气的供应,以影响蜡烛的“新陈代谢”,从而影响其“寿命”。


El largo ahora
Una pompa de jabón generalmente permanece estable solo por unos momentos: es una esfera perfectamente formada con una superficie iridiscente que refleja su entorno. Como uno de los símbolos clásicos de la vanitas, la pompa de jabón representa tradicionalmente la fugacidad del momento y la fragilidad de la vida. THE LONG NOW aborda la pompa de jabón desde una perspectiva contemporánea, con referencia a sus propiedades químicas y físicas, así como a los recientes avances científicos y tecnológicos. THE LONG NOW tiene como objetivo extender la vida útil de una pompa de jabón, o incluso preservarla para siempre. Usando una fórmula mejorada, una máquina genera una burbuja, la envía a una cámara con una atmósfera controlada y la mantiene en suspensión el mayor tiempo posible. El proyecto se presenta bajo la forma de un montaje experimental en el que la pompa de jabón recién creada oscila permanentemente entre la fragilidad y la estabilidad.

Verena Friedrich

Vanitas Machine

The installation VANITAS MACHINE addresses the desire for eternal life and the potential of life-prolonging measures. Based on a candle which – by means of technical intervention – burns down very slowly, vanitas machine creates a contemporary analogy to the endeavour of prolonging the human lifespan with the help of science and technology.Being one of the classical vanitas symbols, a burning candle recalls the futility of the moment, the transience of human life and the certainty of the end of all existence. But is this end really still inevitable?In the course of the last two centuries, average human life expectancy has increased significantly in the industrialised countries. Moreover, in the context of scientific research the biological causes of ageing are being explored. Numerous theories of aging have already been developed pointing both towards physiological as well as environmental factors.One of the first theories of ageing was the so-called »metabolism theory«, which claims that the lifespan of organisms is reciprocally related to energy turnover and therefore connected to calorie intake, oxygen consumption and heart rate: The higher the metabolic rate, the shorter the lifespan of the organism.

Verena Friedrich

A soap bubble usually remains stable for only a few moments – it is a perfectly formed sphere with an iridescent surface that reflects its surroundings. As one of the classical vanitas symbols the soap bubble traditionally stands for the transience of the moment and the fragility of life. THE LONG NOW approaches the soap bubble from a contemporary perspective – with reference to its chemical and physical properties as well as recent scientific and technological developments. THE LONG NOW is aimed at extending the lifespan of a soap bubble, or even to preserve it forever. Using an improved formula, a machine generates a bubble, sends it to a chamber with a controlled atmosphere and keeps it there in suspension for as long as possible. The project is presented in the form of an experimental set-up in which the newly created soap bubble oscillates permanently between fragility and stability.

Oli Sorenson

Inspired from the live works of Italian artist Michelangelo Pistoletto (1933-) of meticulously ransacking large mirrors, Sorenson revisited the classical traditions of vanitas under the materiality of video, and generate his creative process from the destruction of consumer components.


video pistoletto

Inspired from the live works of Italian artist Michelangelo Pistoletto (1933-) of meticulously ransacking large mirrors, Sorenson revisited the classical traditions of vanitas under new materials together with one of the more celebrated exploits of Arte Povera.

Franziska Megert



헬렌 채드윅
Хелен Чедвик
Vanitas II
In this self-portrait, Chadwick uses her own body to examine the politics and associations surrounding female portraiture and the nude. There is a direct reference to the long tradition in art of female Vanitas figures, contemplating their own image in a mirror. They illustrate the fragility of physical beauty and all human creation.
Here, the artist gazes into a mirror, which reflects one of her works, the Oval Court installation, her own ‘Garden of Delights’. It is a defiant image, confronting the inevitable process of change but not as a de-personalised or idealised nude. Rather she portrays herself as a creator in control of her own image.