RATIO / FATA MORGANA, 2016, Videoinstallation

The title of this computer generated video worl includes the reference to the latin based term of ratio as a reference of reason, but even more to the rapport between  two sizes, in this case the reference to the relationship of the viewer to the virtuell size of the video projection. When a person enters the room, he is faced with a larger than life projected image of a human figure on the opposite wall, resembling a mirage. This mirage is connected in a particular way to the reality of the viewer. Every move the person makes, gets recorded by sensors and mirrored into the projected virtuell space. Doing this, the viewer experiences a paradox. The nearer the person approaches the projection, the farther it moves away, until it finally, when it seem within reach, disappears into the void.

PENDULUM, 2013, Videoinstallation

Thomas Lüer´s Realtime-Videoinstallation “Pendulum” shows the forward and backward swing of a pendulum within an empty space, and it´s interaction with the viewers presence and its reactions. As the pendulum swings back, the viewer sees himself from the front. As it reaches it´s peak and swings forth, the “Mirror”-image surprisingly flips to the viewers back. Even if the projected pendulum seems to physically behave as it´s Foucault counterpart, it does become a vehicle, a filmed metaphor,a transition for other images. Lüer avails himself of the association with painted mirrors, such as can be found in the Vanitas stillife of Pieter Claesz, depicting a room within a room, which misleads the viewer into believing he could grasp the “Background” behind the mirror. The hypnotizing effect of Thomas Lüer´s “Pendulum” does not mean to point towards the mechanisms of selfreflection,, but is staging the most disturbing way in which our view of the world and simulation in our contemporary society, interlock as a “program”, from which one can only escape by leaving the room.

REINRAUM II, 2013, Videoinstallation

What we see is a wall-filling, almost limitless projection of cold, shiny chrome surfaces, within an undefinable engine room, floating by in calm, slow takes. The light reflects partially in cross fading, as the view sweeps into deep unknown expanses. The images are captured in extreme closeup and make it difficult for the viewer to classify their size…  In the course of this, they evoke associations within the imagery of science fiction, as it is  contained in our collective recollection. The intention is not to cause an overwhelming medial input, but to disrupt the viewers sense of space and demonstrate the incompatibility of real and unreal imagery… The reflexive potential of this work lies within the tension between immersion and dissociation. As with all Lüer´s videos, “Reinraum “is essentially a study about the power and magic in audio visuall media.

SHIFT, 2011, Videoinstallation

We see a sequence of approx. 9 minutes, in which a man plunges in free fall through a vertical space and – just before he touches the ground – miraculously „flies“ back upwards. With the free fall, „Shift“ represents one of the most frequently used cinematic motifs of motion. The reduction of colors to black and white serves to emphasize the emblematic character of the situation. The rather slow motion of the sequence allows the viewer to closely follow the meticulously staged motif. This free fall into empty space and the subsequent rising are not mere repetition, but actually a loop consisting of eight different settings. Eight time in a row, we witness this scene, each time in a slightly different variation. The „shifting“ illustrates the deviation variants of the scene, while referring to the common cinematic practice of producing numerous takes of one and the same scene. There are no indications as to where this fall could be taken place, bei t from a bridge, a roof or a train. By extracting the scene from ist possible context, a poetic constant is revealed that constitutes the basis of all filmmaking: fiction as a „hand-made“ construction.

SPIN, 2010, Videoinstallation

The pictures filmed for this installation derive from experiments in cognitive science. In many of these experiments with animals, the research is concerned with their capability to learn how to navigate in unknown territory. The faster they learn orientation within a maze, the better their grades… In the videoinstallation “Spin”, the viewer is first confronted with fast moving images of  spinning hallways, interrupted by short glimpses of two moving persons. The movements are too fast for our brain to process actual details. Suddenly the mode slows down considerably and the same images can be seen in a slower time stretch, only to accelerate again. This permanent change between the projected speed leads to a changed image perception – therefore making the viewer not only a witness of a documented past, but also of a present time phenomenon, it´s control through an “invisible hand”.

SCHLÄFER/SLEEPERS, 2008, Videoinstallation

The video „Sleeper“ features pictures that were taken with an infrared camera in a sleep laboratory. The image section is reduced to the facial area, the facial muscles are in a fully relaxed state, except for the eye muscles. The sleepers are in the so -called REM sleep, a phase of sleep characterized by rapid eye movements. Experiences of the wake phase are processed and the brain is „cleansed“ of superfluous information. The observer becomes a witness of an inner process, the scope of which, however, remains unrevealed. Which inner pictures a certain eye movement may evoke, is not to be detected. At the same time, a nearly voyeuristic situation arises, bestowing on the viewer feelings of shyness, suspense and curiosity. Watching someone in his sleep is normally reserved to the intimacy of private spaces. Aside from this clash between public and private space charactarizing many of Lüer’s works, the title refers to another interpretative level – a construal, which, since 11th September 2001, has permanently inscribed itself into the collective memory of the western world. The automatism, by which the word „sleeper“ at once rouses associations of (yet) inactive terrorist cells, mirrors the ambivalence of how we tend to interlink media and private realms.