Karina Smigla-Bobinski – “I am talking about a complex world.”
A whole presence of a person with his/her forms of interaction, strengths and weaknesses, also stands at the centre of the video ROUTES (2002, Video). A face made up of drops of water simultaneously emerging, distorting and flowing into one another is looking more inside itself than at the viewer: it symbolises isolation and the fruitless nature of passing life. Its different states make it a metaphor for the plurality inherent in individuals and all the different roles in a person’s daily life. Karina Smigla-Bobinski not only thematises aspects of a philosophy of being but, by using the artistic techniques of video and other different forms of presentation, involves her viewers in a discussion about people’s social status.
The role of individuals over and against other people is thematised in the interactive video installation ALIAS (2004, ill. 6). Here visitors stand in front of running projectors to throw a shadow on a white wall: within the white wall can be seen life-size video projections of other people, mostly of other origins and nationality. Just as in Plato’s “parable of the cave” the projection surface becomes an object of discussion about one’s own reality, whereas the projections of the visitors’ shadows throw up questions about their relationship to other people.
The techniques of the artist are just as ephemeral as the expressions of life they document: video and slide projections are as ephemeral as the places in which they take place: images for performances on stage and situations created in public spaces. In 2000 she began work on a video set for a dance performance entitled SEE AND BE SCENE - A CATWALK BANQUET (ill. 4), that was created over a number of years. The show was directed by Helena Waldmann and based on motifs from the novel “Glamorama” by Bret Easton Ellis. Here three female Japanese dancers play out a drama of vanities on a catwalk. Karina Smigla-Bobinski projects their faces, mirrored in drops of water, on a screen hanging 6 metres above the stage. The performers wait for the drops of water to explode with the “horrified expression of prisoners shortly before their execution”, until the drop of water dissolves itself into a trickle. Once again the viewers are involved for they can only see the projection with the help of mirrors.