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"La terre tremble ... veritable jungle artificielle qui brouille les pistes et le regard." "The floor trembles ... real artificial jungle that wipes out the tracks and the sight."
Le Monde, March 9 2001


"Die auf den Boden projizierten Lichtschlieren von Holger Förterer sind noch das Interessanteste ..."



"The light-streaks projected on the floor by Holger Förterer are still the most interesting thing ..."
Die Welt, March 15 2001

"... une piste d'atterrissage se dessine sous l'effet des étonnantes créations vidéo de Holger Förterer ..."


"a runway appears outlined under the effect of astonishing video creations by Holger Förterer ..."

Actualité de la Scénographie, February 2001


My work is always different, given that the main component of my work is the human being, who perceives and modifies visual and sound language in a way that I can never anticipate. In this process, the only thing that I can do is impose and modify the perception that the observer has of him or herself, and of others. In my opinion, my role consists in reacting, in transforming and emphasizing the human element.

Language is the key word behind my thought process. Over the past years, I have become totally fascinated by information, in every form. I have begun to read our surroundings like a book, deciphering the surroundings like an archaeologist or a detective. Everything that we do conveys a message, and the way that we express what has to be said is so varied that it overwhelms me. I do not claim to study computer science. I study the art and theory of information. Computer science primarily concerns itself with the quantity of information, whereas the art and theory of information deals with the quality.

I am mid-way between art and technology. All of my efforts seek to use technology to the point where it becomes art. At the same time, I struggle against technology taking me to the point where it takes over, at the expense of art. Ideas are the most important thing in our work. Man understands ideas, machines don't. However, if art cannot bring machines to feel emotions, who or what can? I am going to try.

journal of ballet preljocaj, April 2001

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