_ Tilen Sepič is an explorative designer and artist. In his transdisciplinary practice, he refers to natural and social sciences, material and technological developments, ethical and esthetical aspects. He analyses material properties and interrelations, key functions and system structures, physical and sensual phenomena. His imagery, his objects, and installations are illustrations, sensory fields or perceptual spaces that stage complex contexts.

_ The Concrete Art of American artist Christine Sciulli plays with the geometries of light. Its attraction and its poetics are due to Sciulli’s outstanding sense for complex visual arrangements. Her present series of large-scale, site-specific interventions display animated white circles projected onto arbitrary surfaces. This allows the white animation lines to meander between the visible and non-visible, leading to an enchanting visual experience.

_ “Pictures that attack the eye” was the explaining headline of a feature on Op-art in the Time Magazine published on October 23, 1964. “Preying and playing on the fallibility in vision is the new movement of “optical art” that has sprung up across the Western world. No less a break from abstract expressionism than pop art, op art is made tantalizing, eye-teasing, even eye-smarting by visual researchers using all the ingredients…” were the opening lines and in fact, Op-art compositions create a sort of visual tension in the viewer’s mind that evoke the illusion of space and movement.

Entdeckungen beim Nachdenken über die Werkzeugkiste von Ingo Wendt _ Ingo Wendts Arbeiten profitieren von Lust am Experiment und von viel Lebenserfahrung, von Know-how und Freude am Spielen, von Neugierde und Weltzugewandtheit. Er arbeitet entlang der Dehnungsfugen von Tatsachen und Technik. Er sammelt Himmelslicht auf Spiegelfolie oder projiziert Schattenfiguren auf Raumwände. Zu seinen aktuellen Werken gehören ein Seifenblasen- und ein Konfetti-Projektor, ein Ornamentgenerator und ein Farblicht-Chronotop.

_ Audrey Rocher and Roland Devocelle are the artists’ collective “Atsara”. Their artistic research is dedicated to physical structures and principals as aesthetic phenomena and poetical realms. They travelled from Agen in the south of France to Hildesheim to realize a site-specific version of the installation “[M]ondes” at the outlook “Berghölzchen”.

Mary Corse: May 11 to June 23, 2018. Lisson Gallery London _ Between 1965 and 1968, her interest in creating space continued with a series of triangular column sculptures, wall-mounted constructions of painted wood and Plexiglas and electric light boxes.

_ “We work with mass materials, and for us, fluorescent lamps are a tool for composing, not on a limited screen, but in the open space.” Since 1996, physical light has been the central material of their artistic expression. “When we started experimenting with electric light, we weren’t really interested in technology. The aesthetic phenomenon was more important to us. We were thrilled that we found a material that sought dialogue with the spatial dimension.”

_ For more than fifteen years, glass and its physical, esthetical and metaphorical assets have been the material and the qualities of choice for the artistic research of Judith Roeder. She focuses on the differentiation between the translucent properties of glass in opposition to its reflection and refraction properties when filtering light.

_ joeressen+kessner engender site-specific interventions that allow to perceive, to understand and to categorize a site in a new quality. Preferred, they work with historically charged sites to which they respond with transmedia interventions. Their works are digitals systems that interfere with the analog status quo via image and sound applications. They generate data systems that control audiovisual projections which are applied in real-time to a chosen environment.

_ Kuball ’s works encompass objects, installations, and interventions that reflect on visual organization, its impact on consciousness and on outlook on the world. His works can be found in white cubes and black boxes, in all kinds of exhibitions spaces as well as in public spaces; they can be temporary as well as permanent.

_ Houda Ghorbel and Wadi Mhiri are working as an artistic tandem of different backgrounds encompassing professional practice in fine art, design, architecture and community work. They are dedicated to sociocultural and political, religious and philosophical issues. Collective memory and identity, societal coherence and civic engagement, democratic culture and freedom of expression are reoccurring subjects of their artistic research and articulation.

_ My understanding of light is rooted in photography _ designing photographs, taking them and making them, all processes are light-related and they taught me the edges, the needs, and possibilities of visuality. The deeper my understanding grew, the more I wanted to share this experience – the process of appearance and disappearance or of the “happening” – with others, of course with artists and curators but as well as with an attentive audience.

Strahlende Neontexte, dynamische Leuchtschriftbänder, Buchstabenprojektionen als Rauminterventionen, Sehtexte und Buchobjekte – die künstlerische Auseinandersetzung mit Text als Material und Medium ist in der bildenden Kunst der Gegenwart in vielen Zusammenhägen präsent. Die Künstler Detlef Hartung und Georg Trenz gehören seit über 20 Jahren zu denen, die das Verhältnis von Sinn zu Text, von Text zu Raum, von Raum zu Licht und von Licht zu Bild ausloten.