yesterday i published two new photographic works here on this website, which are the results of my trips to japan and poland, where i visited hiroshima two years ago and auschwitz two months ago.
in my picture montages „realising the incomprehensible“ i put the two places of horror in relation to each other pictorially. in doing so i asked myself what one actually sees when standing at these places of remembrance. and how much one actually looks inwards in the process.
when i first encountered postmodern thinking as a student (paul feyerabend, wider den methodenzwang), i was fascinated by the fact that it expressed my discomfort with academia and seemed to provide an answer to how the stubborn and boring, downright hostile progress in knowledge could be revitalised. but later i saw the fatal consequences of postmodern…
today I published a new remix under my artist’s name oonard. the basic samples are taken from a jam session of my band rhein. title: 2022 (die verstoerte republik)*, this refers to the present mental situation in germany. the people in my homeland seem to be very confused about the situation – too much crisis in…
The work „5 grams“ presents a gold tooth next to gold jewellery in a showcase. it does not address the victim himself, but the coldness of a system that sought profit even in death. the showcase, a symbol of desire and museum distance, makes the unspeakable visible and at the same time unbearable. the gold…
with my current media art project #6million, i would like to try to visualise the incomprehensibility of the holocaust and thereby inherently question the cognitive consequences of media technology mediation for our memory work. the idea at the moment is a media installation with 6 million different, photo-realistic, digital-virtual portraits, created by an ai, although…
Peter Michael Witt published at soundcloud the second prelude to the concept album “anti düsseldorf,” an experimental journey from classical sounds to granular destruction and synthesis — a conceptual project that explores the boundaries and the questionable nature of the decades-long hegemony of sequential music.
two montages of snapshots taken in 2006 with the camera of the motorola razr v3 smartphone. some of them show lost, personal objects in the volksgarten. the work reflects the difficult situation i found myself in at that time – privately and professionally.