Through his artistic practice Carl Michael von Hausswolff intensifies the idea of existence of the other, parallel world that can be discerned through cracks in the objective perception. This process aims at no demystification of unknown and (un)touchable, but at adding value to the existing structures of judgment, watching and seeing, listening and hearing. Forming of the potential of amazement — some kind of ostranenie — beside the elementary jerking of hard formulas of recognition also contains the character of “mystic” perceptive turn. The counterpoint of everyday, unnoticeable and self-understanding with new, surprising coating transforms the form and questions the predetermined content. The interest for hidden meaning and expressive value is evident in Hauswolff’s work in usage of frequencies and impressive sound combinations. In his installations he often focuses on forgotten and overseen values using the visual metamorphosis of objects and ambiances with strong and symbolic color-lighting interventions.
The fascination with red color is present in many of his projects. The piece Red Pool (Bangkok, 1999) consisted of the light installation that colored the pool and its surroundings with blood red. This idea was further developed in the piece Red Night (Santa Fe, New Mexico, 1999) where by using the 20,000 W of intense red light the whole graveyard was “imbued” with red.
In the installation Red Empty: Zagreb the artist intervenes in the space of the building using the 17,000 W of red light visible from the street. It is interesting that this building is the abandoned and devastated former Arko factory (later Badel). The industrial block, formerly at the periphery, today is in the center of the city and presents a space of great potential. Although the Arko building is protected as the monument of industrial architecture of historicism, being the space without financial means and clear vision of assignment it is destined to ruin. The lighting installation focuses on the architecture of this building, aiming to attract attention and interest of citizens, in the first place the accidental passers-by, who know of no interpretation or description that explains the installation.
1. Your light installations combine light and architecture stressing their hidden expressive values?
To continue the discussion concerning “hidden values” my interest in this began with hidden values within an abstract structure. It’s easy for an artist to hide behind terms like “abstract” not wanting to state a work as a political, social etc. Part of my “red” work is to circulate around these matters, to try to frame a certain place or space with a monochrome just to zoom in on the object finding lots of interesting details – stating that there is no such thing as a piece of art that only contains form and color – there’s always something more to it depending on the context and the level of approach. The fact that I have chosen places that one way or another have been forgotten by the society just shows my concern for taking care of things better – I’m colored by the “buy’n’throw away”- mentality that arouse in the 60ies and 70ies and it disturbs me …
2. You frequently use red light for your site specific installations. Red color has a strong symbolical value that varies in the different socio-political contexts. What does it represent to you?
Since I work a lot with sound material I have certain frequencies that I like more. The ones I prefer to work with as basic structures in a sound-installation or a concert are very low bass frequencies (35-80 Hz). For me, these bass sounds correspond to a very deep red color. It’s a very warm and caring color. It attracts me emotionally in contrast to a blue color which for me more stimulates a cool attitude and intellect. I find red more physical …
3. Do you want to provoke a public reaction? What were the reactions after the previous installations where the red light was used?
Doing a piece of work and showing it to people means that you want to put something in focus. In this case I’d just like people to see the building and wonder what’s going on – maybe even to try to get some information about the place for to investigate the building’s future. For me it’s a way to put something in focus. For the audience interested in art it should not only discuss the city planning but also aesthetical matters like abstract painting and content.
4. The communist past of Croatia rather predictably conditions the interpretation of anything red. Are you familiar with the terms of “nationalization” and “denationalization” and how these processes condition the state of architecture?
If these terms are internal Croatian I don’t but would like to know more … in any case these red works of mine has nothing general in common with the Blue Capitalism or the Red Communism … but par example in Japan (Red Code) it had to do with the red Japanese flag and the Japanese way of including and excluding foreigners in their society.
Interview by:
Antonia Majača
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