OBSERVETTE

source: schuelke
Bjoern Schuelke pursues a creative style that is equally influenced by modern abstraction and instruments of scientific measurement. The slow deliberate movements in his sculptures spatially consider mass and weight of form. Also influenced by the Dadaist tradition and Jean Tinguely, the theme of an absurd machine is key in Schuelke’s work. Playfully transforming live spatial energy into active responses, his objects experiment with solar panels, infrared surveillance, and propelled wind power. Many of his larger kinetic sculptures combine elements of surveillance technologies, robotics, interactive video and sound. Schuelke’s active sculptures question the way in which we interact with modern technology: on entering the installation site, the audience becomes part of the ‘system’ as the works (some freestanding, others suspended) monitor or react to the human element. (bitforms)
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source: lebensart-koeln
Kunst und Technologie – “Salon Arendt” ist ein interdisziplinäres Ausstellungsprojekt mit Hommage an Hannah Arendt. Es beinhaltet die Interaktion von Musik, Skulptur und Malerei ebenso wie Vorträge, Performance und Film.
The New Yorker | Dock.One lädt ein zur Diskussion über das aktuelle Thema “Überwachung”, über die Identität, das Wertesystem, die Erinnerung, das Gedenken und den Aufbruch.
Bjoern Schuelke, born 1967 in Cologne
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source: artsy
Influenced by German sound artist Peter Vogel and Jean Tinguely’s kinetic sculptures, Björn Schülke creates complex viewer-activated machines that combine movement, surveillance, and sound. Equal parts art and science, Schülke’s works play on our relationship to technology, from the ominously-titled Drone #6 (2006), which appears to hover close to the ceiling and monitor movement below, to the playful oddity of Nervous (1999-2009), a wall-mounted, fluorescent orange ball of fur that shudders and emits robotic noises when approached.