Ursula Hentschlaeger

Ars Electronica 2005

Menscheln in Digitalien

By Bernd Graff / Sueddeutsche Zeitung

(...) The current Festival should in any case be considered a milestone in the history of computer technology-based art. (...) Tomek Baginski. (...). (...) Martin Mairinger. (...) Jee Hyun Oh (...). (...) Pascal Glissmann und Martina Höfflin (...). Daniel Lee, a New Yorker of chinese parentage, uses the computer just as naturally for the illustration of his very personal interpretation of evolution as the Austrians Ursula Hentschlaeger and Zelko Wiener. They combine the current information age and the antique world of myths. They show gods along concrete and turn everything into bits and pieces. This should bring us to the metaphysical homelessness of the present? Whatever! The artists begin to free themselves from the paternalism and clasp by the technology in which they were long kept. (...) One can also recognise behind the syncretism of the forms, which is the logical outcome, the desire for artistic independence of the tools. (...)


Ars Electronica 2005 Menscheln in Digitalien By Bernd Graff / Sueddeutsche Zeitung (...) The current Festival should in any case be considered a milestone in the history of computer technology-based art. (...) Tomek Baginski. (...). (...) Martin Mairinger. (...) Jee Hyun Oh (...). (...) Pascal Glissmann und Martina Höfflin (...). Daniel Lee, a New Yorker of chinese parentage, uses the computer just as naturally for the illustration of his very personal interpretation of evolution as the Austrians Ursula Hentschlaeger and Zelko Wiener. They combine the current information age and the antique world of myths. They show gods along concrete and turn everything into bits and pieces. This should bring us to the metaphysical homelessness of the present? Whatever! The artists begin to free themselves from the paternalism and clasp by the technology in which they were long kept. (...) One can also recognise behind the syncretism of the forms, which is the logical outcome, the desire for artistic independence of the tools. (...)		Ursula Hentschlaeger Reviews > see chapter ZEITGENOSSEN














	Ursula Hentschlaeger > Reviews