If you have two figures, two sides, two forms, then they give the air in between a shape. In Japanese culture this negative space between two structural parts is named Ma (間), a day inside a gate. Cézanne has used it in painting, Chilida in sculpture, to name only two of many artists.
Today this Ma, the Figure of In Between is suspect more than ever: it allows the virus to spread, COVID-19, the latest corona, it gives droplets space to travel. So lots of things are done, to divide the one into two and then to cut it apart.

 

Opposite

In order for the wind to appear, both high and low pressure are needed. Between them it begins to blow. Both sides have an equal effect; each high-pressure area blows as strongly as the low pressure area sucks. I wish, I could imagine that the wind that wafts around my nose, is actually sucking at my neck. But I won’t succeed.

 

 

 

Dangling a carrot in front of a donkey

One can carry the stick, one can be the donkey. In both cases, the carrot is always ahead. But nevermind, each of the three has good enough reason to enjoy the ride: the coachman feels superior; the donkey plays along and still decides where to go; and the carrot notices with each step how coveted it is.

 

 

 

Social Distance

The measure of safety here in Switzerland is 200 cm. That is the distance, you are asked to keep. In Hawaii the measure is different. There it is 183 cm.

 

 

 

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( *1966, Berlin ) is an artist who has focused on time, wind and models, on labilities and tectonic activity. From 2003-2011, he was the founding director of Y (Institute for Transdisciplinarity) at Bern University of the Arts and since 2011 has been a professor at the Zurich University of the Arts, where he has built a wind tunnel. In 2010 he received the German Sound Art Prize.