Inextinguishable fire
The title of the piece references Harun Farocki’s 1969 film of the same name, which approaches the impossible task of effectively depicting the horror of napalm on film. Cassils’s gesture of self-immolation speaks to both the desire for–and the impossibility of–knowing such horror, even while decisively aiming to approach it. Though the stunt is a simulation of violence, it still presents real danger. This possibly volatile situation–and the attempt to control it–is captured to create an image where danger, empathy for those experiencing violence, and the privilege of removal from such circumstance operate simultaneously in one transparent performance.

Chronos XXI
Chronos the god of time, permanently destroys and recreates. He who symbolises evanescence and return, was the thematic point of departure for the creation of the kinetic media installation Chronos XXI. The piece is a ‘finger exercise on antiquity’ by our Creative Director Joachim Sauter and was created during his residency at Villa Massimo in Rome. A pendulum continuously swings in front of a monitor. This motion controls the slow synthesis and destruction of depictions of Chronos on the monitor. Chronos appears in various interpretations by painters of the late Renaissance, Baroque and Classicism – as a man who disrobes Veritas, as a performer of volatile music, or docking Cupid’s wings, or as children and crop eating, a scythe and an hour glass carrying, beardy and winged old man.
video

META_BOLUS
‘Meta_bolus’ exposes the metabolic process as an exchange of certain boluses or doses that define relationships as either beneficial or adverse. The laboratory structure in the centre of the installation embodies two connected loops of the metabolism of matter in our planet: human extraction of antibiotics from the Streptomyces rimosus bacteria and human consumption of volatile soil elements through the olfactory apparatus. The two looping processes excrete the two metabolites of the Streptomyces rimosus bacteria: the antibiotics and the geosmin aroma.

Atmospheric Forest
Atmospheric Forest is a large scale VR point-cloud installation that visualizes and sonifies the relations between the forest and climate. It reveals the interaction patterns between the pine-tree emissions in Pfynwald, an ancient Swiss Alpine forest, and weather conditions in this valley, effected by drought. The trees do not only produce oxygen, but they are living bodies who breath too. I.e., they emit part of carbon dioxide, sometimes even up to 20 perc. from what they have consumed. When trees die, they release all the carbon they have collected during their lives back into the atmosphere. Atmospheric Forest explores the effects of drought on local forest ecosystems, and how such stress situations influence production of resin and volatile emissions (such as usual pine-tree scent).

كورنيليا باركر
科妮莉亚·帕克
קורנליה פרקר
コーネリア·パーカー
코넬리아 파커
Корнелии Паркер
two rooms
For some years Cornelia Parker’s work has been concerned with formalising things beyond our control, containing the volatile and making it into something that is quiet and contemplative like the ‘eye of the storm’. She is fascinated with processes in the world that mimic cartoon ‘deaths’ – steamrollering, shooting full of holes, falling from cliffs and explosions. Through a combination of visual and verbal allusions her work triggers cultural metaphors and personal associations, which allow the viewer to witness the transformation of the most ordinary objects into something compelling and extraordinary.

Volatile Structure I
via highlike submit

Volatile Structure
via highlike submit

snowballing doorway
Situées dans une ouverture existante d’une porte à enroulement, deux formes de même taille font circuler l’air tout au long de la journée. Au fur et à mesure qu’un arc se gonfle, l’autre s’effondre et l’air pour remplir l’arc d’engorgement est aspiré de l’autre. Les deux arches sont dans une orientation en miroir, les participants peuvent passer à travers l’arche inférieure jusqu’à ce qu’elle devienne volatile et l’arche supérieure inversée commence à déplacer son homologue.