Light Art Light Marks 2001 LightAquarium. A light sculpture at the light art exhibition Lichtmarken 2001.
The world in the world as a microcosm. A play of light in the glass cube.
Light as a means of design at the centre of artistic activity can look back on a long tradition, from the inclusion of natural light in the effect of the magnificent coloured areas of the Gothic stained-glass windows, to the decisive role of light in Baroque architecture, to the avant-garde artists who used artificial light as an object of expression and as a philosophical concept. Theoretical starting point was recognized. The 20th The 19th century extended the artistic use of light to extremes and included all possible variations and varieties in the design with this medium. Different groups of artists, already in the decades after the war put light at the center of their work and thought, and a large number of important exhibitions in the 80s and 90s further enhanced the importance of light. The Minister of State for Culture, Prof. Nida-Rümelin, as cultural advisor in the last years of the 20th century, set a high value on culture. Since the beginning of the twentieth century, light art has repeatedly set accents in public spaces in Munich with sometimes spectacular installations by a wide variety of artists. This was also the case with the light art exhibition Lichtmarken 2001 at the Pasinger Fabrik in Munich.
For this exhibition Light Marks 2001 I had the idea for the LightAquarium as a light sculpture. To pack what otherwise works particularly well in large rooms into a small glass cube to create a micro world of light.
Light Aquarium a light sculpture for meditation by Andreas Juergens
Glass cube, 90 x 90 cm, laser tandem system, light guide, deflection scanner, 2001
The world within the world as a microcosm. A seemingly empty room fills with virtual objects in different shapes and colors through an interplay of movement and touch. For me, the creation of light forms is a visible image of my own thoughts and feelings, which, as in the real world, cannot be seen out of their walls, in their entirety.
Special thanks to my old friends Mr. Heinrich Hottarek and Mr. Rainhard Pohl, whose many years of help have contributed significantly to the realization of this and other projects.