The piece seen, upon exiting – white reflective skeins of strapping pulled into a vortex serve as the base material in this video. Loosely draped and drawing into a center point, the strapping hoists Redondo recumbent or otherwise prone. The artist inches towards an unseen and unheard center: a black hole in space, a wellengineered intake manifold or a faux cooperation with William Gibson’s jack-in location of cyberspace. As a grey fog curls in the center, Redondo pulls herself deeper into this midst.
Redondo states her call against motionlessness, and against gravity. During the video looping, she is there and then back again in a continuous present.
—Julia Scher
Artist and Professor at the Academy of Media Arts Cologne
Extract catalogue: The Limit of The Present, New Talents – Wide Space N° I, Fuhrwerkswaage Kunstraum, Cologne, 2012.
“Carolina Redondo’s works are always relating to their surrounding architecture. “Zona Abisal”, shown before in a passage situation at the Bundeskunsthalle Bonn, now opens up the view into a funnel-shaped vortex on the ceiling of Fuhrwerkswaage. The observer seems to be pulled into this optical vortex, where the artist moves up and down. The video loop enhances the illusion of menacing infinity and a claustrophobic abyss at the same time.”
—Anne Mager, Curator
Extract catalogue: The Limit of The Present, New Talents – Wide Space N° I, Fuhrwerkswaage Kunstraum, Cologne, 2012.
Man fühlt sich erinnert an die Illusionsmalerei des Barocks, dessen Merkmale die optische Täuschung der Perspektive und zugleich die Imitation einer Aufwärtsbewegung auf der ebenen Fläche provozieren und darzustellen suchte. Das Himmelreich wird hier zum Abgrund, der filmische Loop übersteigert die Illusion einer Endlosigkeit bzw. die Unendlichkeit und Tiefe.
—Monika Lahrkamp
Kunsthistorikerin und Kuratorin, Köln
Exhibited at:
- 2012 »The Limit of The Present«, Fuhrwerkswaage Kunstraum, Cologne.
- 2012 »Echoraum / Minus Sechs«, Kunst – und Ausstellungshalle der Bundesrepublik Deutschland, Bonn.