The viewer’s eye glances off the surface of these images, as it glances off the sun. The black and white photographs in the second side room take a similar approach, arranging covers thematically, in groups of four, via keywords including ‘terror’ and ‘art’.
Sieverding’s overall-impressive installation really does create a universe.
It ‘shines’ on the end wall of the central space flanked by two side rooms: a layout echoing the reredos and nave aisles of medieval cathedrals that reflected the universe of their time.
Over a period of three years, Sieverding collected images of the sun released online by (2013).
The glow of this sun – actually more reminiscent of the moon – bathes the whole space in a cold, unnaturally bluish light that evokes the dawn.
Cast onto the room’s side walls in an uninterrupted stream by four projectors, other photographic images flicker through the space, creating an almost cosmic atmosphere.
Many of these pictures are familiar from Sieverding’s work: huge self-portraits from the series (1973); pictures of actions at the Dusseldorf Academy where Sieverding studied; modernist architecture; images from China; Sieverding as a sexy diva with a glass of milk in her hand under the slogan ‘THE (Crystallization Pictures, 1992), the result of a blood test.
Made over the course of the artist’s career since 1968, these works have long since entered the canon of contemporary art.
Sieverding selected them to fit loaded political topics (nuclear threat, violence, pollution), subjecting some to further processing while others, like the , were simply reused.
What they all have in common is an attempt to get behind the surface, like x-rays, taking a deep look at buildings, bodies and media images.
The projection at Schloss Moyland heightens this approach, as the penetrating gaze becomes almost tangible in the space.