Roland Fuhrmann

IN OMNES PARTES

The secondary school Burg-Gymnasium in the ‚Daimler town‘ Schorndorf is a kind of future-oriented relay station for the pupils. From the secondary school Burg-Gymnasium, graduates go in all directions – IN OMNES PARTES. From here they have to find their education, career and life path. In the secondary school Burg-Gymnasium they get the spiritual provisions and the abilities to master this journey. Willingness to change and openness for new developments are guiding principles of the secondary school. This mobility is also conveyed by the art installation in the atrium of the new building. Its material-economic vitality is characterised by visual lightness, minimalist determination and clear lines. The driving energy is sunlight. Since the Siècle des Lumières, light has stood as a metaphor for education and enlightenment. Charged with „educational“ energy, the installation moves in all directions – IN OMNES PARTES. The Latin title can also be read as a reference to Schorndorf’s origins as a crossroads of Roman times.
The 10 m high air space in the concrete grey atrium of the new school building is the stage for a floating, mobile room painting in bright colours. Through the four glass roof surfaces, strips of sunlight fall into the hall. Coloured bars on different levels hang from the three concrete trusses that interrupt the glass roof on fine steel cables. They are exactly balanced horizontally and can rotate horizontally. In the course of the day, sunny stripes wander through the atrium. When sunlight hits the solar cells of the rods, the solar energy initiates a horizontal rotation of the rod. Depending on the amount of sunlight, the rods start unpredictably, lead an unpredictable life of their own and permanently change the constellation of the overall picture.

ZUSAMMENHALT

The stele group ZUSAMMENHALT (cohesion) brings the population into the ministry. It shows how fragile and endangered social COHESION is. It must always be worked for anew, sometimes even fought for, and depends on the point of view of each individual. The visual shift of the pillars to a meaningful whole also addresses the question of exclusion or integration. It is precisely because the group of stelae contains both states, which can diverge or converge depending on the perspective, that it stimulates discussion, reflection and action. The ZUSAMMENHALT stelae group also shows that ministerial data columns and statistical column diagrams actually depict people – the supporting pillars of society.
This work is based on the principle of anamorphosis. A hidden image is broken down into stripes and distributed in space according to perspective. Only from the point of intersection of the perspective lines does the picture reappear as a whole. When the viewer leaves this point, the COHESION disintegrates into an abstract structure. At the front of each stelae is a screened section of the motif. The pixels on the edge of the each photograph motif encircle the stelae, like a bar code. From the observer’s point of view, the steles thus push together to form the pictorial motif of a group of people – the random snapshot of a contemporary cross-section of the population made up of passers-by, persons, and citizens.

RŒHREN:DER HIRSCH

http://rolandfuhrmann.de/work/roehrender-hirsch/1/

WAR SCARRED BERLIN

The bullet holes of war are omnipresent. Especially now, when Germany become a magnet for war refugees, it is important to remind of these scars. The dumb stones are suddenly loud and burst into an apparently peaceful daily life in Berlin, late summer of the year 2015.
Still existing Second World War scares in the streets of Berlin were filmed. Then the bullet holes were digitally repaired and prefixed to the video. An adjusted war sound of explosions and machine guns let the scene become realistic. Now the astonished looks of tourists and pedestrians have the dimension of a short flashback. History and presence happened simultaneously.

http://rolandfuhrmann.de/work/war-scarred-berlin/6/

BLACK OUT

The video „Blackout“ features Berlin’s most popular tourist site, the Brandenburger Tor. The Gate is always illuminated and shines like plastic. But what happens, when the lights go out and the monument is wrapped in darkness? Then far away voices appear and for a moment the eventful past of this historic place comes to live.

http://rolandfuhrmann.de/work/blackout/6/

GOOD TRIP, GOOD HUNT, GOOD APPETITE

Pendant 3 mois, toutes sortes de cadavres remarqués au bord de la route ont été photographiées. Avec les bruits des ludiciels, la brutalité des images est radicalement surenchérie. La dernière victime du trafic, une perdrix rouge*, fraichement décédée est ramassée, préparée comme un gibier fraîchement chassé, puis consommée ensuite. Le délicat processus de transformation du cadavre dénonce de manière implicite le mépris ordinaire et quotidien de la vie qui se joue sur les routes. La vidéo pointe l’étrange différence de statut entre les animaux tués au fusil – destinés à être consommés – et ceux victimes du trafic routier.

http://rolandfuhrmann.de/work/2008-bonne-route/6/

PANORAMA imaginär

http://rolandfuhrmann.de/work/panorama-imaginaer/1/

ADLER:ANAMORPH

http://rolandfuhrmann.de/work/adler-anamorph/1/

SPEKTRALSYMPHONIE DER ELEMENTE

SPECTRAL SYMPHONY OF THE ELEMENTS
„Spectral fingerprint “ is the line spectrum mentioned, typical for each chemical element. The emission lines of No. 1 hydrogen to No. 99 einsteinium float as coloured glass tubes in the area and change the logic of this natural law into an impressionistic space painting. Colour tones are transformed into a spectral symphony. When crossing, the shift of colours becomes dynamic, the spectral lines mix themselves and new chemical compounds will be received.

http://rolandfuhrmann.de/work/spektralsymphonie-der-elemente/1/

VENUS VON MINDEN

VENUS DE MINDEN
Johannes Wesling (1598–1649), the clinic’s namesake, published the pathbreaking anatomy book, „Syntagma Anatomicum“ in Padua. The baroque portrayal of the circulatory system found in this book was cut sixteen times in high-grade steel and connected in the middle. The bizarre form takes on both figurative and floral qualities, synthesizing anatomy and botany in an abstract sculpture.

http://rolandfuhrmann.de/work/venus-von-minden/1/

ROTER BERG

The name of the town Goch is of Celtic origin and can be interpreted as meaning red mountain. Since this town in the lower Rhine Valley lacks any elevation worth mentioning, this identity-forming feature must be created from scratch.
Horizon segments of red sheet steel intersect at right angles. From above, the solid structure is open.

http://rolandfuhrmann.de/work/roter-berg/1/

TREIBENDER RHYTHMUS

DRIVING RHYTHM
Analysis of a Film Sequence of Palucca Dancing, permanently installed in the Palucca School of Dance in Dresden/Germany

A film clip of Palucca dancing was broken into thirty frames from which each movement was reduced to its exact geometric form. The abstracted stages of movement hover as a geometric me-tamorphosis out of neon orange steel tubes set apart in rhythmic distances through the room. Palucca’s dance movement becomes a „cinematic sculpture.“

http://rolandfuhrmann.de/work/treibender-rhythmus/1/

VALUTA

Six three-metre industrial conveyor belts are arranged in a circuit, carrying 100 kg of world coins. This staged flow of money reduces the system of the financial markets to pure mechanics and shows its absurdity. The deafening mass cascade of means of payment is worrying and awakens the desire for forms of economy that do without hard currency. (Museum Goch, Solo show)

http://rolandfuhrmann.de/work/valuta/1/

KRAFTWERK V

A standstill is not a state, but the beginning of a change of direction. The hollow steel intestine of the former power plant is transformed into a huge instrument, and the stillness is transformed into a dance and productive rhythms. Their own voice is thereby coaxed from the old steam pipes, cauldrons, and steel constructions.
50 hammer modules are welded onto pipes and cauldrons in the 15-story, 300-meter-long power plant hall. A program control creates acoustic industrial activism as a diverting, dust-raising experience of sound. The „hammer symphony“ begins each half hour and lasts 3 minutes each time.

http://rolandfuhrmann.de/work/kraftwerk-v-vockerode/1/

STARDUST trap

STARDUST TRAP
Im Staub ist die Geschichte und Identität des Ortes eingeschrieben. Er ist die DNA für Raum und Zeit. Alles wird zu Staub und Staub ist in Allem. Die Besucher nehmen Staub in Haar und Kleidung mit, atmen ihn ein. Sie werden Teil von ihm und lassen zugleich ihren Staub zurück. Jedes Staubkorn bildet einen Mikrokosmos, einen unsichtbaren Planeten, der lautlos durch den Raum driftet – milchstraßenmillionenfach. Jedes Staubkorn ist Spur hier stattgefundener Ereignisse.
Mit der Installation STARDUST TRAP wird das unsichtbare Universum des alles umgebenden, luftraumfüllenden Staubes für Sekunden sichtbar gemacht und leuchtet auf wie ein glitzernder Sternenhimmel. Ein quadratmetergroßer, leerer Rahmen hängt als Staubfalle im Raum. Er enthält Kaskaden aus unsichtbarem Laserlicht. Die hindurchdriftenden Staubpartikel blitzen hell auf, bevor sie ihren Weg in die Unendlichkeit fortsetzen. Der offene Rahmen ist ständig gefüllt mit einem wechselvollen Spiel aus glitzerndem Sternenstaub.