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Mischa Kuball

*1959 in Düsseldorf GER, lives in Düsseldorf GER
Studied at FH Düsseldorf GER and Freien Universität Berlin GER


Exhibitions [Selection]:


2012 Printemps de Septembre à Toulouse FRA
         six-pack-six, Kunstverein Lippe Schloss Detmold GER [S]

2011 Platon's Mirror, MNK/ZKM Karlsruhe GER [S]

2010 Passage Public, passage de l’Amphithéâtre, Centre Pompidou-Metz FRA

         Entrée publique, passerelle gare / parvis du Centre Pompidou-Metz FRA

2009 Blickmaschinen’, Museum für Gegenwartskunst Siegen GER

2008 LightShadowComplex, Museum of Contemporary Art, Pori FIN [S]
         CityPortrait' Contemporary Art Museum, Toyota JPN [S]

2007 ReMix/Broca II [Letters/Numbers], ZKM Museum für Neue Kunst, Karlsruhe GER [S]




Mischa Kuball x

Stage II, 2004, 18:00 min, color, sound [VIDEONALE.10]

Cones of light dance, seeming to follow a choreographed rhythm across the stage's ceiling. Various spotlights affixed to the crossbeams roam through the audience and immerse the stage backdrop in an atmospheric play of light. The narrow horizontal frame used in Stage II shows only the ceiling of a stage where a concert is in progress. The actual event is blocked out, as is the sound. The viewer becomes irritated, as important information is being kept from him. Gradually, one begins to observe the light signals, to concentrate on the visible "slice of stage". Completely disconnected from the actually performance in progress, one simply watches the ballet of light. The silent picture generates a spatial distance between event and viewer on yet another level, which is further fostered by the black borders blocking out the edges of the scene. The work Stage II seduces us with silence. The viewer, induced to gaze longer at the remote play of light, is put into a contemplative mood. Stage II has a hypnotic, mesmerizing power. Its quality of being shown in passing gives it considerable power.

Katja Heckes


Mischa Kuball x

Heimkino [Amateurfilm], 1968/2006, 8:05 min, colour, sound [VIDEONALE.11]

An amateur film from the late 1960s that shows holiday scenes. Whether the local dogs, the Mediterranean landscape or cheerful people enjoying leisure pastimes: the filmmaker captured everything that passed by his lens with his Super 8 camera. The images appear not to have been subjected to any directorial strategy; their seemingly random selection obeys no narrative structure in the classic sense. Mischa Kuball ruminates here on the popular attempt to preserve irreclaimable experiences in order to relive them later in home movies/amateur films [Heimkino [Amateurfilm]]. But the effort to make memories come to life at will using technical means is doomed to fail: the past cannot be brought back to life again, even with the help of home movies. The ad absurdum repetition of the images in a loop manifests the impossibility of this undertaking. Like a veil of forgetting, a black shadow looms over the private footage in Kuball?s video. It belongs to the projector, whose presence physically demonstrates the temporal and personal distance of the viewer from the images shown. Heimkino [Amateurfilm] is about the technical processes of recording and playback. Filming the film as an artistic act creates a meta-level and offers a complex reflection on the cinematic medium.

Cécile Zachlod


Mischa Kuball x

Platon's Mirror, 2008, 20:52 min, silent, colour [VIDEONALE.12]

In his work Platon´s Mirror, Mischa Kuball shows us Plato´s Allegory of the Cave. An unfurled sheet of plastic serves as a projection surface. The light falls on it from the front and is reflected by the motion of the plastic surface, which creates amorphous planes structured by the folds of the sheet. A horizontal line, among other things, arouses associations of a landscape. The folds in the upper third of the projection surface look like rays, so that the image of a sun is formed, which, according to Plato, stands for "good". As in the allegory, it is possible to perceive reflected images of human figures passing by. Colorful planes, contours, and shapes are created, fade, and transform in different rhythms on a surface whose overall unity is broken up into three small parts on the left. The projection is not tangible; the depiction cannot be related to anything being depicted; the shadow plays cannot be interpreted in any specific, concrete way. What is seen are images of reality, mirror images - as the title already implies. Significantly, it is the reflective medium of video that causes them to occur. Hence this is a double-edged parody of twentieth-century theories of perception, whose origins are in the dualism propounded in ancient Greece. This is a dialectic, visual demonstration of media crtique, the aesthetics of reception, and the pseudo-reality of media.

Pia Damm

Mischa Kuball