Interactive 3D computer animation, Kirsten Geisler, 1999<\/p>\n
The dream of ideal beauty has not been fulfilled. Nobody is in the position to actually state what this “ideal” might be. However, Kirsten Geisler shows the manner in which it manifests itself today in her computer animated, interactive projections. At the precise moment when the distinction between a virtual, projected ideal image and the physical and psychological self-perception increasingly descends into the subconscious, Kirsten Geisler brings into play her works based upon an artificially generated beauty, taking up the struggle of the individual to correspond in appearance and nature to a heteronomous and ideal model.<\/p>\n
Today the identification of the individual with his or her numerous virtual representatives has reached the point where physical presence is not required for interaction and psychological presence is in danger of becoming totally obsolete. The head of “beauty” is oversized and conveys the notion of a proportional rather than a fashionable model, since -shaven to the bare skin- it propagates an aseptic, sterile ideal that easily corresponds with the ideal of a perfect, computer-generated \u00bbNew World\u00ab. In regard to its larger-than life proportions and its absolute symmetry, Kirsten Geisler draws upon the eternal image of the infallible God, whose model man is to emulate by striving for the symbiosis between God and himself the divine example and the commandment to fulfill this example lies at the basis of this eternal striving to achieve an ideal state whose perfection is the impetus and not the aim of the endeavor.<\/p>\n
In the course of the 20th century this quest has shifted more and more to a secular level and today fulfills itself, among other things, in the cult of beauty and the obsession with slimness. The supposed alienation of inner values, however, should not be understood much as a loss, but should rather be seen as resulting from the transformation of the communicative systems within the media.<\/p>\n
The increasing dominance of visual and symbolic signs in contrast to written linguistic signs, causally linked to the developments of new image media and the computer, enables Kirsten Geisler to investigate the discrepancy between “‘natural” and “artificial” worlds, to question how far they are at all distinguishable. Apart from gestural and mimical reactions, such as the smile, the kiss, the opening and closing of the eyes, the turning of the head, “beauty” now also increasingly proceeds with phonetic articulations. Its counterpart has the possibility of posing questions or making a linguistic statement upon which “beauty” reacts.<\/p>\n
At the moment the limits of the system are reached, the inadequacies and the imperfections of the being on the screen become apparent. This makes “beauty” appear very human despite its radiant brilliance, but does not, however, reduce its effect; rather it multiplies it many times over. For the meaning of these works does not lie in the acknowledgement of the ideal state of this virtual being, but rather in experiencing the proximity and identity of the animated image and the ideal concept, the illusory difference and distance to this system, while at the same time participating in it in a subconscious yet constitutive manner.<\/p>\n
Markus Mascher, Kunsthalle D\u00fcsseldorf<\/p>\n
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