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Karina Smigla-Bobinski – “I am talking about a complex world.”

Karina Smigla-Bobinski standing next to her interactive video installation SIMULACRA, MoTA Museum of Transitory Art, Ljubljana, 2013.

Mediathek Sorted

Media library
  • SILVER SALT, 1999. Analogue interactive Installation.
  • SILVER SALT, 1999. Analogue interactive Installation.
  • EMERGING, 1999. Video installation in the floor.
  • EMERGING, 1999. Video installation in the floor.
  • DREAM JOURNEY, 2002. Single channel video, 25 mins.
  • A CATWALK BANQUET, 2000. Video stage design for a dance performance.
  • ISLANDS, 2004. A light and slide installation.
  • ALIAS, 2004. An interactive video installation.
  • 7 METRES, 2005. A room installation. Wire mesh fence, barbed wire, clothing. 300 x 300 cm.
  • RETURN TO SENDER, 2006. Video stage design for performance. Video, tents, stage screen, projector.
  • RETURN TO SENDER, 2006. Video stage design for performance. Video, tents, stage screen, projector.
  • DEEP TREE, 2008. A light installation in a public space. Living bamboos, mirror, maxi-slide.
  • DEEP TREE, 2008. A light installation in a public space. Living bamboos, mirror, maxi-slide.
  • QUERY, 2009. An on-site, online art project. PVC balloon, helium, Ø = 200 cm high = 400 cm.
  • QUERY, 2009. An on-site, online art project. St. Luke’s Church, Munich 2009.
  • QUERY, 2009. An on-site, online art project, 2009.
  • ADA, 2011. Analogue interactive installation / kinetic sculpture / post-digital drawing machine, PVC balloon, charcoal, helium, Ø = 300 cm.
  • ADA, 2011. Analogue interactive installation / kinetic sculpture / post-digital drawing machine, PVC balloon, charcoal, helium, Ø = 300 cm.
  • SIMULACRA, 2013. An interactive video installation.
  • SIMULACRA, 2013. An interactive video installation (Detail).
  • SIMULACRA, 2013. An interactive video installation (Detail).
  • CONE, 2013. A sound installation.
  • MORNING STAR, 2013. A sculptural installation made out of arrows.
  • ROUTEN, 2002

    ROUTES, 2002. Single channel video.
  • DREAM JOURNEY, 2002

    DREAM JOURNEY, 2002. Single channel video, 25 mins. Copyright: Karina Smigla-Bobinski
  • WORMHOLE, 2008

    A video installation in a public space. Steel construction, glass, video, monitor, DVD player. Ø = 100 cm, H = 110 cm. Copyright: Karina Smigla-Bobinski.
  • ADA, 2011

    An analogue interactive installation / kinetic sculpture / post-digital drawing machine, PVC balloon, charcoal, helium, Ø = 300 cm.
Karina Smigla-Bobinski standing next to her interactive video installation SIMULACRA, MoTA Museum of Transitory Art, Ljubljana, 2013.
Karina Smigla-Bobinski standing next to her interactive video installation SIMULACRA, MoTA Museum of Transitory Art, Ljubljana, 2013.

Karina Smigla-Bobinski was born in Stettin in 1967, and between 1986 and 87 she studied at the Academy of Pictorial Arts in Kraków. In 1993 she continued her studies at the Munich Academy as a master student under Gerhard Berger, which she completed with a diploma.

She invited the general public to participate in her work as early as 1999 in her installation entitled SILVER SALT (ill. 1 a, b). When visitors enter the space which is completely covered in earth, their footsteps uncover mementos like photographs, locks of hair, ribbons and letters placed under plexiglass plates. Each visitor uncovers another piece of history for, according to Marcel Proust, the past hides itself “as soon as it has passed away, within a material object“ and not in the memory created in our minds (Contre Sainte-Beuve, 1954). The title of the installation refers to the materialisation of the past through the light-sensitive substances used in photography. The installation changes just as the stories change with every revealed memento. “A work of art no longer belongs to you once you have released it. Then it is a part of the world, influences it, and changes the world and itself through the confrontation with other people.” (Karina Smigla-Bobinski)

Karina Smigla-Bobinski’s early videos are also about the way we perceive human existence. In a break with conventional habits of seeing she installed the monitor for the video EMERGING (1999, ill. 2a, b) in a recess in the floor so that visitors were permanently able to look down on a person emerging from the water in an endless loop. The video DREAM JOURNEY (2002, ill. 3, Video) is a surreal journey into a world roughly the same size as a human life. “When people ask us who we are, we tell them stories about us”, explained Laurie Anderson when she was talking about her album Album Bright Red (1994), whose songs are responsible for the musical part. The video is a sequence of memory fragments and emotional states in the form of abstract poetic sequences in which the hands of two lovers touch each other and remove themselves once more, coloured drops of water fall into a watery surface, float past each other, come together to make up a duet and finally dissolve into blurry streaks. Photos of a little girl function as testimonies to the memory of her being swept away on a journey by her father. The sea horizon, reflections in the water and the movement of the waves underline the permanent fluidity of life and a life lived between dream and reality.