Emanuel Geisser works in diverse media such as spatial interventions, video-installations and collages, whereas projection, reflection and rota- tion are the formal baselines of his work. His set-ups question the visual perception and recall subjective images of the spectator. In his films he mixes found footage with own shooting to self-constructed realities and sends his protagonists into looped adventures with uncertain coordi- nates.

The filigree artworks of Stef Heidhues are combinatorially developed constructions in space or on paper. Her spatial works follow the prin- ciples of collage, integrating picturesque and graphic elements. Her objects and collages are about tension and balance as they reflect a state of perpetual friction and yet hold a tenuous compositional equilibrium. The artists have in common that the spectator’s position plays a major role in their artistic considerations. Working in completely different media, they both create as fragile as precisely set up constructions and spatial interventions in their particular poetic language.

Emanuel Geisser’s installation ‘Taking Tiger Mountain (By Strategy)’ shows three young women who seem to play a curious game blindfol- ding each other and feeling their way through the room. Smaller mirrors fixed to wall and floor deflect parts of the main projection. Like satellites these deflections mirror the action or show time-shifted excerpts. The spectator is surrounded by a non-linear and spatially fragmented narra- tive, he also has to find his view ing point in the real space.

In Geisser’s installation ‘Im Wald des einzigen Bildes’ (engl.: In the forest of the only image) there are two rotating mirrors hanging from the cei- ling. As they spin each one of them reflects two fragments of a phrase and these reflections float in various combinations over the walls. ‘All the clouds turn into words’ is taken from a song of Brian Eno, the cita- tion ‘I look, but I can’t tell what I see’ originates from the title-giving book by Theo Kneubühler. Both statements don’t only mean the simple fact of looking at something, the one-way relation between spectator and object, but the images in one’s memory which extinguish the sub- jective and unique moment of every visual experience.

In between Geisser’s two spatial installations, Stef Heidhues has instal- led a fragile construction out of hand-made rhomboidal elements han- ging from the ceiling. As its title ‘Good Fence’ suggests, it almost blocks the passage, though its appearance is rather one of a wrecked beauty than of a serious barricade.

Similar to ‘Good Fence’ which functions like a spatial drawing, ‘Figure of Three / Blue version’ also structures the space. Depending on the viewing point the installation appears as one complete form, and as one moves through the space several compositions appear as certain lines conjoin and separate again.