Johannes Kreidler Komponist

Rhythms in Rooms (2021)



Donaueschinger Musiktage 2021


Mindset 15 tablets with videos, puppet


Ray Rhythm (sketch) 11 tablets with videos, lamp


Timeline Road Movie 1 5 tablets with videos, trombone


Choir symphony 20 tablets with videos, 4 trombones


Bottom Archive Situation screen and 45 tablets with videos


Crooked timeline and a corner screen and 12 monitors with videos


Der Tritt 9 tablets with videos, boot


Collection / Stop 15 tablets with videos, shelf


Collection / Stop (sketch) 15 tablets with videos, desk, keyboard


Faucet 11 tablets with videos, faucet


Portrait 11 tablets with videos, mounted on pedestal


Spine 15 mirrors


Themselves 30 Alu Dibond Prints


Ray Rhythm 11 tablets with videos, lamp


Untitled 54 tablets with videos


Self Portrait (Sketch)


Disbursement 8 tablets with videos, amphora


Sound descending clarinet, 13 tablets with videos



The Timeline and the Spaceline
Nam June Paik introduced the sculptural use of video or video devices into art; he used monitors as physical objects and sculptural building blocks. Such arrangements, for example a bed whose base is made up of television sets, have a dual-medium effect: the sculpture on the one hand, the videos on the other; there is a bed, and on top of it lots of moving images. The videos are literally embedded in another context, and yet remain autonomous in their own motion.
Johannes Kreidler's video sculptures work this way and yet differently. His video monitors are tablets, not Lego blocks, and accordingly not rustic building material, but thin discs that he always sets up one behind the other. Unlike Paik, he thereby counteracts their original independent function - they sometimes cover each other, you can hardly look at them from the front, instead they form a line and divide it regularly, are grouped together or accumulate with increasing density. That’s abstract at first. In addition, he therefore defines this line semantically with one or more objects: a trombone, a flashlight, a tap, an amphora. In this way, the tablets become the beam of the lamp, the acoustic emission of the trombone, the pouring out of the vase.
In turn, the videos on the tablets resist this, or greatly expand the associative space. The output of the trombone consists of noise, a football game, crawling through the grass, etc. Own and found footage, partly synchronised, partly independent, play out there.
As a result, the concept of rhythm is accentuated in several ways. On the line, the space is rhythmically divided, working with regularity, deviations and ametrics; then the internal rhythm of the individual videos, which in turn sometimes connect with each other or are even strictly linked to each other; again the directionality that the added object gives to the whole, insinuating a series, a sequence, and consequently causality.

Temporality in the picture and in sculpture is a topic that art historians nowadays trace back to the cave paintings, just as in comics the momentum of the movement with clouds and rushing lines is staged. In contrast, Duchamp's descending nude is divided into discrete stages, merging in their dynamics as it were. Kreidler's arrangements are more decisive in the distinction of the steps, precisely set in one line, but with the punch line that each discrete part is in turn inscribed with a temporal medium, video motion picture. Two times, video time and space time, are linked here.
The other way round, the works can be viewed from the cinematic point of view. Several films running simultaneously, as we know from the Internet and at least since Zoom conferences as split screen technology, are thematically brought together here. The films have more of a documentary character or are abstract; there is little staged or acted out. On the whole, however, each work is a film that was made for this purpose. Timeline Road Movie 2 is a film about driving, forwards, backwards and sideways; Sound descending is a film about sound, gravity and Duchamp; Portrait is a cinematic work about looking at faces - only split into several films and displays that are set into a sculpture with its own temporal and semantic connection.
There is something pleonastic-paradoxical about saying that films are placed in time here. But this is actually what happens, in inversion of the famous Parsifal sentence: time becomes space here.


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