Note: If you see this text you use a browser which does not support usual Web-standards. Therefore the design of Media Art Net will not display correctly. Contents are nevertheless provided. For greatest possible comfort and full functionality you should use one of the recommended browsers.
Arndt, Olaf; Moonen, Rob «Camera Silens» | Innenansicht auf den medizinischen Stuhl
Arndt, Olaf; Moonen, Rob, «Camera Silens», 1994
Innenansicht auf den medizinischen Stuhl | © Arndt, Olaf; Moonen, Rob

Arndt, Olaf; Moonen, Rob «Camera Silens» | Innenansicht auf den medizinischen StuhlArndt, Olaf; Moonen, Rob «Camera Silens» | AußenansichtArndt, Olaf; Moonen, Rob «Camera Silens» | Bild aus der Dokumentation der InstallationArndt, Olaf; Moonen, Rob «Camera Silens» | Installationsskizze.gif
Germany | Participants: Maria Zinfert, Olaf Arndt (publication)  | Hardware: medical chair, surveillance camera, video monitor  | Edition / Production: Siemens Kulturprogramm München; Kunstfonds Bonn e.V.; Mondrian Stiftung, Amsterdam; Illbruck Bau-Produkte Leverkusen; ZKM Medienmuseum, Karlsruhe; Deutsche Bahn AG | Archive / Collection: ZKM, Karlsruhe

 Arndt, Olaf; Moonen, Rob
«Camera Silens»

An installation for one user at a time in an anechoic chamber equipped with a medical chair and a closed-circuit surveillance system.

«A piece of conceptual art, an environment, an installation, an interactive work of art and media, or a scenario for a media theater.«Camera Silens» does not fit easily within the common categories of art criticism, due to its complex and ambiguous use of media. Merely listing the material components of the project, going through the array of obscure archival material used to research the concept, or describing the spatial installation will not lead to an interpretive understanding of the project. However, it becomes immediately obvious that the environment not only possesses a formal sense of its own, but makes reference to a larger meaning beyond the bounds of its existence as an artwork. [...]
The reports of those who have experienced the work reveal that, in it, a form of low-tech cyberspace exists: a cybernetic room, pre-programmed to perfection with total control, which suggests escape as the only possible reaction.»

(Source: Hans-Peter Schwarz (ed.), Media Art History, ZKM Medienmuseum, Prestel: Munich 1997)