BOUQUET – glass bead object / holes pointillism in Bielefeld, Germany

BLAUPAUSE – art intervention at ZiF in Bielefeld An intervention is an interference in already existing contexts. It is also a way of interacting with people and a particular environment. She acts outside the traditional gallery system to assimilate the place as an important part of the artistic statement. Although Karina Smigla-Bobinski has been dealing with scientific themes in her art for a long time, this time she deliberately chooses not to make a direct connection and coexistence between art and science.

Instead, Karina Smigla-Bobinski focuses on the intrinsic nature, resistance and dissent of art. After all, there is no point in carrying wood into the forest. With her intervention at the ZiF, she takes a purely artistic position. In doing so, she provokes a confrontation between art and science, enriching the scientific discourse with a new perspective. In doing so, she provokes a confrontation between art and science, enriching the scientific discourse with a new perspective. This enables visitors from the scientific environment to gain a new insight into the topics of the two ZiF research groups currently working on the ethics of copying and the genetic and social causes of life chances.

Smigla-Bobinski’s intervention will first respond to the buildings themselves in order to disrupt the participants in their normal intellectual activities, which in turn should lead to a sensitisation to the site itself, but above all to visual attentiveness. This is achieved through the disappearance and replication of architectural elements.For this purpose, a clad wall was removed and the columns of the foyer duplicated as if by an analogue “copy & paste” process. Thanks to the perfect assimilation, the fake columns can only be deciphered by visitors at second glance through conscious perception and exposed as such through touch.

As a second part of the intervention, installations and projections are implanted in the space, where art history is reinterpreted and brought into new contexts.The artist uses an example of an art-historical modification of the “Lying Venus” from 1508 by Giorgione, which was then copied and reinterpreted by Cranach, Titian, Ingres, Manet and even Pedro Almodovar along the art history. The relevant parts of the pictures are suitably transformed into free-standing picture panels, perforated pictures or cast moulds and placed in a relationship to the columns in the foyer.

The whole arrangement invites one to wander among the columns and find the connections and personal conclusions about the impact of genetic and environmental influences on people’s social position and mobility.