1st Edition Eau&Gaz at Lanserhaus, Eppan. Artists: Saori Kuno, Cornelia Herfurtner & John MacLean, Shahar Binjamini, Asaf Elkalai, Björn Kämmerer

Over the past six months, six different artists were invited to live and work in Appiano. With this year's exhibition in Lanserhaus Appiano with Saori Kuno (Japan), Cornelia Herfurtner (Germany), John MacLean (Germany), Björn Kämmerer (Germany), Asaf Elkalei (Israel) and Shahar Binjamini (Israel), the first cycle is now complete.

Saori Kuno's work is inspired by everyday materials from industrial mass production. These properties are determined by their function and at the same time they reflect aesthetic ideas. Building materials are arranged into organic shapes, or tactile paper work into geometrical re-orderings. By creating an aesthetic action space for the objects, she raises the question of how human beings are determined and controlled by objects.

Cornelia Herfurtner and John MacLean's work deal with the way in which beliefs and thought systems manifest themselves in cultural products, without having been properly reflected upon in their original function. In a dialogue, at times an intertextual working method, pieces are appropriated, expropriated, rearranged and interpreted. It remains between the parts but a pronounced unbridgeable gap that invites to more spontaneous and chaotic associations.

Shahar Binjamini studies the interactions between the body and technology: to turn on the light, we have to operate the light switches, to use our mobile phone, we have to touch the display. Thereby connections arise which have sensory and mechanical qualities. His focus is on the use of everyday technical devices.

The work of Asaf Elkalai researches physical interrelations between bodies and surfaces. His works speak to the organs of touch. In the visualisation of images, the special relationship between eyes and hands comes to light, displaying a recurring element in his work.

Björn Kammerers' medium of choice is film. On the basis of short film sequences he studies the structuring effects of the medium itself. The arrangements of settings result in a specific temporality and dramaturgy, in which arise meditative sequences as well as humorous narrations. Striking is how he deals with spatial experience in movies: in his work "TURRET" only after some time a feeling of space emerges, however, with "TRIGGER" it is formed between the images, through the montage.