Judith Fischer & Claudia Hardi


Sequence 1: The shining

“a productive liaison, constellations, haunted houses, odd protagonists, weird skills, awesome activities, short circuits, theories, collections of images, how to deal with dead bodies, swedish suicide metal, mazes, to overlook something completely, panoramas and plagiarisms, night frost, the ghost of fuji and: who is johnny?
the process of cooperative research as travelling into fact and fiction and the multitudes of distortions that happen in transference and narration. we leave traces, collect material and re-fabricate content into our own spatial scriptures.”
(Judith Fischer and Claudia Hardi)

Judith Fischer and Claudia Hardi presented the spatial scripting Predatory Information Sequences. New Games New Players—Sequence 1: The Shining, a joint production they worked on during their stay at Künstlerhaus Büchsenhausen. The shared interest in new phenomena and strategies for the acquisition and processing of knowledge was the basis for this cooperation, while both artists have diverse professional backgrounds.

Sequence 1: The Shining is a research project with an uncertain objective. One might describe the output as transitory, fragmented and yet paradoxically, it can be considered as model. Sequence 1: The Shining uses the same-titled film by Stanley Kubrick as a concrete reference and point of departure for further research. The attention moves on complex paths of audio-visual perception of language and images, working its way through media sources such as books, films, videos and websites. This field research visualizes and manifests itself in a “spatial scripting”. Sequences, strings and chains of signs are arranged in mazes, sculptural elements interact with screenstills/screenshots, notes and a fragile wooden dwelling — a shell, where expeditions are trapped acoustically.
Visitors were invited to travel to this zone, bringing in their own horizons of experience.

Judith Fischer (*1967, Hallstatt/A), writer and artist, works conceptually and artistically in the fields and context of literature, philosophy, (horror) film, theory and visual art and completed postgraduate studies at the Jan van Eyck Academie, Maastricht and at the Bauhaus Kolleg, Dessau. Publications and projects include Vampiric, 2002; I saw her. I saw her, 2003; Predator & Prey, 2004. Film: Dark.Reading, 2005, SOME—Women, Hauses, Phantoms 2000-2010, 2010.

Claudia Hardi (*1969, St.Gallen/CH) worked at that time as a computer artist, information designer and internet researcher in Maastricht. Her exploratory mode of research is focused on the correlation between popular culture, computer science and the comic and game culture. She studied urban planning, fine art and new media. Projects include As We May Think Database, 2004/05 and Dream Machines, 2005.