Configurations- Les Amours Imaginaires (Photo Series, Installation, 2016, Library of the Academy of Fine Arts, Vienna)

In his work De L’Amour (1822), a philosophical essay on love, French writer Marie-Henry Beyle alias Stendhal describes the concept of ‘crystallisation’ as a process of mental metamorphosis: ‘the operation of the mind that draws from all that presents itself the discovery that the loved object has some new perfections’. Stendhal goes on to compare crystallization with the reception of art. Unlike the theories of imagination found in Romanticism, which elevate the imagination to a recognitive capacity, Stendhal sees the artwork or the literary text as the product of an individually limited, affective imagination that lacks epistemological status. A lover or a recipient of art therefore creates beauty in a process of reception in the manner of a crystallisation.

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Configurations- Les Amours Imaginaires                                                         (Photo Series, Installation, 2016, Library of the Academy of Fine Arts, Vienna)

Within protein crystallography, developed by British biochemist Dorothy Hodgkin (1910–1994), for which she won the Nobel Prize in 1964, moving bodies are crystallised or solidified, in order to record their two-dimensional ‘diffraction pattern’ using X-rays. The crystal structure and thus the molecular structure can be deduced and so, using transformation and translation processes, these otherwise imperceptible bodies can be identified and understood.

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Configurations- Les Amours Imaginaires

The title refers to Valie Export’s Body Configurations (1972–1976), in which she presents ‘visible externalisations of internal states’ within the context of architecture.

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Configurations- Les Amours Imaginaires

Configurations – Les Amours Imaginaires takes as its starting-point the question of how one could visualise imagined romantic relationships and also negotiates the mechanisms of Internet dating apps and intuitive devices/robots, which due to the lack of a ‘real’ counterpart ultimately remain a projection surface for narcissistic self-adulation.

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Configurations- Les Amours Imaginaires

Here the imitations of the ‘crystallised’ people in an anthropometric setting represent the moving bodies that are ‘frozen’ (crystallised) by means of photography. Using an image-processing programme that follows the concept of protein crystallography, the body is recalculated into a geometric form. The choice of the medium of photography is not least also designed to ‘create memory’, and at the same time the documentation of a (purely) theoretical process.

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Configurations- Les Amours Imaginaires (#3)

Configurations- Les Amours Imaginaires (#7)

Photo Series, Installation, 2016 Library of the Academy of Fine Arts, Vienna

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Configurations- Les Amours Imaginaires (#7)

Configurations- Les Amours Imaginaires

Photo Series, Installation, 2016 Library of the Academy of Fine Arts, Vienna

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Configurations- Les Amours Imaginaires

Stendhals Silence

Lecture Performance with Boris Manner, 2016

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Stendhals Silence

Stendhals Silence

Lecture Performance with Boris Manner, 2016

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Stendhals Silence

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