Naherholungsgebiete – Visual & Sonic Exploration of „Non-Places“

 „Non-Places„Non-Places " - underpasses, railway stations, lifts, parking lots, petrol stations or bus stops. Transitory spaces and overlooked infrastructure, which are deliberately faded out in everyday urban life, and which one crosses at a brisk pace to quickly reach a more bearable place.

Precisely there, the Freiburg artist duo Burz/Treß set out in search of the aesthetic, visual and sonic charms of these "non-places" with the Naherholungsgebiete. Their eyes are set on furrows, cracks, rubbish and supposedly inconspicuous stuff: Using an endoscope camera, Winnie Luzie Burz is riding the camera along the surfaces, materials and objects found in front of the audience. The view through the highly magnifying lens reverses the proportions and the live projected image opens an unexpected perspective on the "non-places". Johannes Treß simultaneously devotes himself to the sonic investigation of the surroundings: in the course of the performance, electrical pulse generators and motors are attached to objects and materials on site. Controlled by midi, the place itself sounds as a rhythmic percussive soundtrack to the live video. Their eyes are set on furrows, cracks, rubbish and supposedly inconspicuous stuff: Using an endoscope camera, Winnie Luzie Burz is riding the camera along the surfaces, materials and objects found in front of the audience. The view through the highly magnifying lens reverses the proportions and the live projected image opens an unexpected perspective on the "non-places". Johannes Treß simultaneously devotes himself to the sonic investigation of the surroundings: in the course of the performance, electrical pulse generators and motors are attached to objects and materials on site. Controlled by midi, the place itself sounds as a rhythmic percussive soundtrack to the live video. auf die Suche nach den ästhetischen, visuellen und akustischen Reizen dieser eyes are set on furrows, cracks, rubbish and supposedly inconspicuous stuff: Using an endoscope camera, Winnie Luzie Burz is riding the camera along the surfaces, materials and objects found in front of the audience. The view through the highly magnifying lens reverses the proportions and the live projected image opens an unexpected perspective on the "non-places".Johannes Treß simultaneously devotes himself to the sonic investigation of the surroundings: eyes are set on furrows, cracks, rubbish and supposedly inconspicuous stuff: Using an endoscope camera, Winnie Luzie Burz is riding the camera along the surfaces, materials and objects found in front of the audience. The view through the highly magnifying lens reverses the proportions and the live projected image opens an unexpected perspective on the "non-places".in the course of the performance, electrical pulse generators and motors are attached to objects and materials on site. Controlled by midi, the place itself sounds as a rhythmic percussive soundtrack to the live video.

Suddenly the beer mats clatter rhythmically, the plastic cup bangs wildly against the railing and the propeller turns so fast that you fear for your sensitive material. (...) Astonished, one stands in front of a staircase and is happy about the empathy for the mediocre places of everyday life, which are transformed into artwork.