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Hans Hemmert è un artista appartenente al gruppo dell’Inges Idee fondato a Berlino nel 1992 e del quale ne sono protagonisti anche Axel Lieber, Thomas A. Schmidt e Georg Zev. Insieme hanno tutti lavorato su progetti per spazi pubblici.
Per capire bene un sito su cui si va ad intervenire, deve essere ben esaminata the quality of its spatial social history.
Public art can move a given context, in order to open his eyes on other aspects of reality, making sure that the site becomes more interesting and richer. The usual course of public life is interrupted for a moment, the viewer has the opportunity to reflect on something that has an unexpected face. The objective of Inges ideas is to promote a new site characterization and the relationship of the viewer with what he perceives.
successful artistic interventions that not only enrich the site in general, but even people.
The air is the material of the work of Hans Hemmert. He fills the air balloon and sets them in the environment so that they develop the artistic qualities. Hans Hemmert conceives his work as a sculptor - not in the traditional way, but in the sense of interaction with space. He admits to having always been interested in the empty space in the sculptures of Henry Moore and modeling spatial British artist Rachel Whiteread are not entirely unrelated to his work. Hemmert distinguishes three ways of relating to space. The first creates large yellow balls are considered the real sculptures. These balls are compressed between the elements architecture already present, so that they deform, and their volume, it suffers a sculptural structure desired and addressed. Architecture and sculpture look like in mutual dependence and the volumes in the contest space is redefined in innovative ways. Hans Hemmert Another way to interact with the space is descend into a ball in a place of his daily life, such as living room, study or the machine. In this work of art, all objects that are within the architectural space, but outside its shell latex of the ball, stand out clearly from the inside: in the car for example that stands out are the opening of the roof Slide, the dashboard, the side attachments for safety belts and buttons closure of branches. The rubber ball play outer space as a relief to 360 degrees. It creates a kind of shell yellow latex substance that unifies objects, walls, ceiling, and floors consequently none of these architectural features can be more clearly identified and separated from each other. The new space is created that is organic, almost living with uterine inside. Hemmert documenting its presence in these environments, "inflated" with large backlit photos that make a good impression of the atmosphere hermetic and almost barren of these interiors. The journey of the artist in this place of silence and isolation in the picture evokes an aura of elevation and a sense of particularity ed'indefinibilità. A third course of action in space is practiced by Hans Hemmert through short "performance", documented by video and photographs. Pressed into a small yellow ball-shaped egg (with a little air available), the artist makes gestures of everyday life, such as bringing a case of beer, sit on a chair, climb a ladder or get a scooter. These activities are photographed and documented not only the particular relationship between objects tangible and intangible, but the full form of the ball, but also the link between the plasticity of sculpture and space. The relationship between sculptures and space is evident even more so when the artist dancing disco in one of these yellow balls. All these "skill games" played by the bags have as its theme the dialogue with the surface, the thin and vulnerable membrane between the individual and the world around them. The observer also eager to participate in the internal vision of "sculpture-balls", it is excluded. The actual area and photos of the interior spaces are all we see. The boundary between inside and outside is, in the opinion of the artist, the item most of our visible world. Only he has the chance to look behind the surface smooth and shiny, even if the privilege of the artist to get into is hard-won. It can be only a short time inside the ball, since the breathable air inside decreases rapidly - so naturally he puts in an existential situation-limit. His stay in the ball is offset by the loss of contact with the outside world. External objects are shaped through the thin latex membrane, but do not allow a contact or use. Consequently, the artist, despite being in his balloon and within of his studio, can not work, because they can not manipulate objects and can comfortably sit in his car "pallonizzata", but can not drive it - it can move into small balls and also hold individual objects, but only with outside help . The strange mystical atmosphere, which exudes the inside of the ball great, turns into a ridiculous situation, faced with the Human attempts to go to small ball in the tricycle or even drink a beer. The inability to deal with what is happening in the world is amplified when the artist, "dressed" with small ball slips in the space of a larger ball, and wrapped in a double cocoon, remains invisible and also blind. Thomas explains Wulffen about this phenomenon: "You can consider this picture as an example of how to say" live in their own cocoon, a disease that affects humans post-modern face of a world outside more and more uncontrollable. We will withdraw within the four walls of the home, in their own cocoon, and there is no interest in the world. "It is the elegance of blimps or the" lightness "of their appearance to bring out the creations in this way (almost always) yellow : latex balloons are not forms of Hans Hemmert airlines, are heavy, are filled with thoughts that evaporates into the air immediately if you wish concrete. They are filled with physical concepts, waiting, sketches and questions outside of looks. They are imitation and "pretend": "We're only human." But in reality they know exactly: "We're just us, the parasites". The conditions of loneliness, celibacy, masturbation and fetishism on the one hand, the aesthetics of pop - consumer and design make these the other shapers of the aliens who stubbornly oscillate between "body" and "soul." And 'as if they were constantly sucked into your own cartoon, became the subject of a meta-world of cartoons, assumes the form of Barbapapa, like amoebae, polymorphs. Comics that said: "I". The balloons, which are phallic-shaped or melon, or adapted to the shape of the environment, reproduce states of aggregation of bodies: Henri Bergson writes: "I put all these figures at the center of an image, I call my body: its activity is manifested as a virtual reflection of surrounding objects on myself. "Similarly, one can imagine in the abstract thoughts that come out from inside the ball. Hans Hemmert is an artist "without words." The parasites are his descriptions of moods that speak silently of unrealizable desires. They originate from the world, in which the laws of gravity (And not only those) are reversed. So his subjects, his achievements or his photographic designs are closely related to the genre of comics. Impotence of his assists crowded balls and roll them over the abyss. I wanted to address the subject of this artist because I was very intrigued to see in a museum recording the performances in which dancing Hemmert performs in a yellow ball. I thought about doing the work of my thesis on the concept of "limit" and the work of this artist I think it's close to the theme I want to make. Human life is expressed in continuous, perpetual confrontation between the power of desire and the compulsion of the limit. Desire is the engine of human existence, the energy that drives the extension of man himself and his simple experiential spaces. And 'what makes us move, look, fight. In all this I see a 'by analogy with the performances of Hemmert, in which he tries to relate to outer space but is limited by a ground (given by the material in latex yellow) which makes it difficult simple relationship with the world.
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