Bewildered and fascinated by Aryan Kaganof´s theme and notion Noisewomb and his link to Rilkes contemplation about his first experience with an experimental setup of a phonograph I rediscovered Rilkes Ur-Geräusch via the English translation.
As point of departure I asked myself how does something look like in difference to how it sounds?
An acoustic action and its representations (visual, tactile etc.) are intrinsically tied to each other by their nature. But their meanings reveal to be independent, blueprints for our associations and mental constructions. One question gave birth to the next and for me making a piece for the Noisewomb edition of Netfilmmakers became a constant back-and-forth between questioning, framing a rule, taking an action, cutting and re-cutting.
Kerstin Ergenzinger studied Fine Arts with a focus on sculpture and drawing at Berlin University of the Arts and Chelsea College of Arts, London and subsequently undertook postgraduate studies in Media Art at the Academy of Media Arts Cologne. Within her experimental practice Ergenzinger creates metaphorical places: experiential spaces, perceptual machines with sculptural qualities, and notational and semiotic systems. Her works explore the sensory and conceptual relationships between the individual and its physical surroundings. Focusing on technologies and strategies applied in spatial navigation and the production of knowledge, Ergenzinger explores the limits of human perception and our capacity to comprehend and interpret our surroundings at a conscious level. Her works have been shown internationally in both group and solo exhibitions at diverse institutions.
Kerstin Ergenzinger is the recipient of numerous awards and grants, including the North Rhine-Westphalia Scholarship for Young Artists (Media Art) and a work stipend granted by the Arts Fund Foundation.
Lives in Germany. +info