Detlef Hartung and Georg Trenz



public art






Gallery Seippel, Cologne


RAUMGEFUEGE, 20209, 3 x LED projection, dimensions variable
The words RAUM/SPACE and ZEIT/TIME, alternately separated by the words GEFUEHL/FEELING and GEFUEGE/JOINT, form the only text material for a work with three LED projectors, whose projection surfaces partially overlap. The projected text blocks have identical amounts of text, but different line alignments. The right–hand text projection is right–aligned, the left–hand text projection is left–aligned and the middle text projection is center–aligned. The lines set below each other are completely identical for each gobo. They differ only in their spacing, i.e. the distance between the letters.
Certain laws of form (... of proximity, ... of continuity, ... of experience) are responsible for the fact that the learned reading direction (from left to right) expands, and that, in addition to words, one also perceives geometric forms (circle, triangles), lines and spaces. Reading is always also a dramaturgical process, a temporal as well as spatial process.
By walking along the wall surface, the viewer partially covers the projected areas and thus actively intervenes in the design process. He moves between RAUM/SPACE (left border) and ZEIT/TIME (right border).
AREPO, 2020, 2 x LED projection, dimensions variable
The record palindrome SATOR AREPO TENET OPERA ROTAS can be read horizontally and vertically, forwards and backwards, written as a square. It therefore functions exclusively in its visualization. This is one of the reasons why it has been considered a magical sign for two millennia, with often changing magical and religious interpretations. Mathematical interpretations even speak of an analogous representation of the squaring of the circle.
For the work AREPO, the sator square was rotated twice in 15-degree steps completely around its center, the letter N, which occurs only once. The resulting letter material was freely arranged on two circular surfaces, transferred to gobos and projected on top of each other with 2 LED projectors. Only the starting square is identical on both gobos, is in the same position and therefore stands out from the round lettering field with double brightness. Thus, a possibility of legibility of selected characters in this given universe of letters is shown, which, however, immediately disappears when someone enters one of the projection fields. Other possibilities open up for the viewer to read out meanings and words from the sign material and to find new constellations. The word AREPO is the only term of the Sator square without a decoded meaning. It was often used as a proper name or in Christianity as a cipher for the unknown god. If a word has no meaning, it is open to any meaning.
The work AREPO plays with a limited letter material, its combination and interpretation possibilities.

WHERE IS MY DESTINY? 2020, 2 channel video installation, 8:25 min, loop.
The text WHERE IS MY DESTINY, set in the form of multiple infinity signs, which add up to a spherical universe, plays with the expectations when viewing a new, unknown system. A tracking shot suggests an approach to this virtual universe and a journey through its core.
The special technique of the two congruently superimposed projection surfaces involves the viewer and his shadow in the apparent three-dimensionality of the projection, making them part of the work.