Monumental, circular and slowly rotating projections will glow in the darkness of the exhibition space Q18 in the Quartier am Hafen in Cologne. Circular segments arranged like targets quote excerpts from Hieronymus Bosch's "Garden of Delights" as well as parts of Judith Ganz' current oil paintings, on equal footing with graphic patterns from the category of warning signs and photographic references to landscapes completely disappearing under oil spills or plastic parts. This is accompanied by electronic music and the analog, abysmal sighing of bowed metallophones.

 

In Peter Halves' circular elements, photomontages rotate to a similar soundtrack. In these, the visible forces of violence and the invisible forces of the market prevail in landscapes of sweetly brown or poisonously shrill colors, in which the protagonists play their predetermined roles. 

 

In his projection mappings, Michael Blendow dissolves the boundaries between solid sculptural objects and their surfaces played on in contemporary trompe l'oeil manner. The relief-like segments of a historic winged door start to glow, get unexpected depths in seconds in which video sequences appear, other parts emerge surprisingly plastic with rhythmically pulsating sounds and challenge the usual spatial perception of the viewer.