GLEE_IX©Photos Katia Roessel, tous droits réservés.
 The GLEE series focuses on the fundamental technology of artificial
 light, and the evolving dominance of screen based light and its
 implications. Natural light, screen light, and filmed light
 intertwine. Since within the installations different temporalities
 emerge and shun into another frame/art scale – the light of
 the screen has brought us ever more realistic simulations,
 including simulations of intelligence and of life,
 and draws us into its reality. This reality and natural
 reality are in an escalating competition for our "hearts and minds."

GLEE__IXstill_glee9___lestroissontplusharmoniquesensemble©Photos Katia Roessel, tous droits réservés.
"I want the GLEE project to be an alternative for cultural industries 
and to anchor discussions about the importance of social and political 
issues elsewhere, starting with adapting to climate change, reviewing the 
colonial heritage, and most of all, to anchor the spatial and pioneering 
concept of art. Minerals as ressources in general as well as those 
particularly exploited for components that illuminate screens, and 
cosmologies are potential landmarks of GLEE video installations. 
Herein I am questioning art’s relevance to society and its transformation, 
with or without technology. While the GLEE installation is being set-up, 
the embedded pulsating dots (from the chandeliers) evoke a feeling of an 
intelligent creature trying to communicate with the outside through a certain 
rhythmic code. As for GLEE IX, its series had been set in an old warehouse 
by the riverside close to my hometown in the former East Germany. 
This warehouse was used for storing and shipping grains and cereals 
and was constructed in 1935 by Carl Wentzel. To me, this building was 
part of the European and worldwide expansion of industrialization that 
started about one century before - by which time the Industrial Revolution 
had already pushed its mechanisms to all corners of the world. While going 
into the warehouse it occurred to me that I was going inside the genuine body 
of capitalism, right inside its viscera - groping around in limbo of dreams 
and desires."