A Room With A Cue

Underpasses are liminal spaces “When I enter, I physically remove myself from the outside world above, the natural light. I'm underground, but I'm not either. I move in and through different levels. When leaving I return to the light.” A liminal zone can be described as a threshold between two defined spaces. We approach underpasses with a certain trepidation. Cue of reality In places where physical windows are absent or the view is heavily dominated by artifacts, the view from a window plays an important role in people's physical and psychological well-being. The real skylights in a liminal space lead to an expanded rapture due to their limited vision. The three monocular depth cues, movement parallax, blur and occlusion are hardly present and thus the creation of a window-like "see-through experience" is prevented. Only Movement Parallax gives the greatest effect. The view from the skylights falls on the cables of the line network. Similar to underpasses, the power grid represents man's ability to innovate and also the limits of his possible extensions. Liminality in the physical world The underpass is a passage and connection between two places. An underpass is usually not the goal. Liminal spaces are spaces of change and innovation, spaces in which everything seems possible and which are constantly changing. The liminal state is not a fixed but a fluctuating state of suspension. Rite of passage In the design of transformative spaces, correspondences with principles from rites of passage can be found. Rites of passage or passage rites refers to an ethnological concept that was introduced in 1909 by the French ethnologist Arnold van Gennep. He observed that in the course of a person's social life, numerous transitions between two life stages or social states have to be made, for example between childhood and adulthood or between the external foreign world and the familiar environment at home. (2nd intermediate phase “Liminality”: undefined) Connection to Neolithic art Underpasses as modern sites of ritual and change, like Neolithic ritual spaces. Similar to a Neolithic cave (cave paintings, ceramics, metal and stone objects), we return to a border crossing and embed our work in a modern cave. Mona Mayer & Corinne Riepert o.T. (hell und stürmisch) (2022) Stahlrohr, Stahlseil, Stoff Ines Bohnert o.T. (2022) Transferdruck auf Leine Vanessa Bosch right down to the invisible ones (2015-2022) speaker&player, Keramik, Polaroid, Rindenmulch, Ketten Corinne Riepert peeled (2021) Textmarker, Bleistift, Ölkreide auf Baumwolle, Volumenvlies, Garn Mona Mayer Vorhang 1 - 9 (2022) *Vorhang 2 (Frühstück für MimiMotziMaxi) Bleistift auf Papier Alex Besta agency accessories (2022) Gips, Stahl, Resin. Sarai Rose Duke Sigg Culture (2022) Gips, Stahl Nao Kikuchi am Waldsee (2022) Keramik, Bittersalz Hannah Accetturo trauma she wrote (2022) Sprühkreide Vanessa Bosch & Sarai Duke o.T. (2022) Trampolin Edgar Unger o.T. Plastik (Ausschnitt aus) Jim Jones Alex Jones (2021) Keramiplast, Epoxidharz, Tusche, Goldkette Tim Wahrendorff Das Wesen (2021) Glasierte Keramik Maximilian Bernhard Batzen-Pressung, Keilform (Ecke) (2021) 2-teilig, Keramik Nick Herrmann a study on the concept of time (2021) Edelstahl, Stahl, Motor, Mikroprozessor Ben Öztat o.T. (2022) Mixed Media auf Papier, Holz, Glas Janis Zeckai mentor trove III (2022) steel, aluminium, porcellain, vape atomizer, harddrive, usb c cable metabolic cusp (2022) steel, Vitamin D bottles, plaster Hagen Eberle I read the news today, oh boi (2022) Stativ, Silbertablett, Mürbegebäck