Stephan Kaluza

Et in Arcadia ego (I too was in Arcadia) symbolizes a (artistic) feeling of living since Renaissance; especially with Nicholas Poussin’s painting that is painted around 1640, the remote (ctional) arcadic landscape is associated with a yearning for mortality. By the phrase “I too was in Arcadia”, its implied that life here is nite. Arcadia, that is to say idly, is not of this world; it means a place where human pain is forgotten; a heaven full of beauty, justice and freedom; just as Thomas More designs this “utopia” in his novel in 1516: idly, is the perfection of an imaginable realm. “Arcadia Machine” project, is an attempt about idly, an attempt to design this idly as a conceivable and complex system in three parts: 1- Arcadia landscapes: The large scale photographs that are represented to the viewers consists of several individual elements: a part of forest from Eifel, a river from Pyrenees, mountains from Greece, meadows from the Alps etc…The landscapes that are gathered together does not exist in this way; the individual, especially with the combination of beautiful pieces, forms a (fake) wholeness that gives the eect of a one – shot. 2- The textual concept, designs Arcadia as a depiction of the real: How is the ora and fauna? What is the climate, how long is the day and the night? This realm seems to satisfy everyone’s needs and therefore reveals the “desired” mediocre: the lenght of grass in Arcadia is 17 cm, neither long nor short; the mountains are forested in a particular way that is appropriate for humans, there are no steep hills, wild animals are rare; through out the day the temperate is around 24 celcius degrees ; it rains once a week. The Arcadic nature, ts the human being’s longing for mediocracy. 3- Arcadia is simulated with digital landscapes and models: The mountains, the rivers, the measurements of distances, heights and widths. Where lies the forests, where are the meadows, which animals live where? The three dimensional model denes Arcadia as a conceivable matrix. This work may be percieved as irony but at the same time its a study; which shows itself that is “human” in terms of its desires and yearnings; through the classication of these yearnings, an artistic principle is followed: the visible reveals the hidden. As Oscar Wilde says: “It’s only shallow people who do not judge by appereances. The true mystery of the world is the visible, not the invisible.”
Arkadienmaschine #1 2012
Arkadienmaschine #4 2012
Arkadienmaschine #6 2012
Arkadienmaschine #7 2012
Arkadienmaschine #5 2012
Arkadienmaschine #2 2012