Looping Suspense

The glow of the screen casts an eerie light on a model-like, sculptural arrangement. A group of building skeletons forms a ghostly city. Formations of power and possession are striving upwards in a concentrated force in a confined space, with abysses and empty pits in between. Gradients that reflect the growing system of our time. In a short film excerpt, dust covers urban centers in mist, spreads insidiously and settles as deposits.
In the work Looping Suspense, human interventions in nature are placed in a field of tension with the built environment and made atmospherically perceptible in a spatial arrangement. Set pieces of found media images of detonations in limestone quarries, in which material is mined for concrete production, as well as collapsing high-rise buildings, which have to make way for the construction of new buildings through blasting, are interrupted by digitally generated animations. In explosion-graphic representations, isolated pieces of furniture dissolve into their components and spread out. The effects of global trade and consumption are symbolically illustrated in the decomposition of these objects.
The scenery is taken up by a sound that intensifies the uneasiness. Sound fragments of destruction on buildings and landscapes form the starting point of this acoustic environment. Omnipresent and yet not entirely tangible, as the „hyper objects“, as Timothy Morton calls such decentralized phenomena as global warming. Integrated into the composition are high frequencies that can only be heard by younger people. These interfering noises thus exclusively address a future generation and refer to the heritage left behind by the cycles of construction and deconstruction, the excessive mining of raw materials and the consumption of resources.

https://www.kunsthauslangenthal.ch/ausstellungen/a-curbing-wall-of-debrislandfilling-pedro-wirz-unbehaust/