Witness of the epochal transition from the industrial society to the information society, Ludwig Wilding (Grünstadt, 1927 – Buchholz in der Nordheide, 2010) began to create his Programmierte Strukturbilder in the early 13s, developing a logical-sensory art based on virtual Chinese (September 2014, 5 – October 2014, XNUMX).
Ambiguity, indeterminacy and instability constituted the distinctive characteristics of the research carried out in that end of the century; artists such as Ludwig Wilding deepened in particular the discourse on false movements and stereoscopic vision (which is made possible by our binocular system, which records two different images and combines them together producing the experience of the third dimension).
In this sense, Wilding's works should be considered as the appropriate evolution of the traditional relationship between foreground and background. In fact, binocular vision makes it possible to obtain a sense of depth thanks to the fusion of the different images that form in the right and left eye.
In the XNUMXs Wilding had the opportunity to develop interference in the form of lines superimposed in space. The lines were arranged on two distinct but complementary levels: the front of the work and the back, which end up combining together in the retina. In practice, the perceptive synthesis of the frontal and rear levels could generate an apparent movement.
Although it is established that "seeing is knowing", sometimes the senses can mislead us, stimulating illusions and even hallucinations. Wilding's tissue elaborations act precisely on the optical illusion, proving that art is a wonderful deception.
The perceptive oscillation of these works springs from interspaced lines, orthogonal textures, concave/convex surfaces, transparencies and foldings that analyze the interdependence between the artist/researcher and the spectator/receptor, as well as between the perceiving subject and the object perceived. By virtue of this relationship, the work does not exist until it is seen, vice versa it ceases to exist when it is no longer directly perceived.
It is also necessary to have direct experience of these works, because the only way to truly appreciate them is from life. Otherwise it is impossible to understand the immediate transition from a "fixed form" to a "mobile form", ie when the work takes on a life of its own, activated by the viewer and induced by the variation of its vision.
Given that cinevisual investigations can be divided into two distinct categories, namely those that are interested in deduction and those that resort to induction, Ludwig Wilding's structural gradients undoubtedly belong to the second category: they are intellectual provocations that act on the photoreceptors of the retina.
Ludwig Wilding. Zum Beispiel
Lissone, Museum of Contemporary Art – Basement
September 13 - October 5, 2014
Inauguration: Friday 13 September at 18pm
