| VIDEO | INSTALLATION MENSCHENLEER | 14 MIN. LOOP | WOOD BOX | 97 x 59 x 17 CM | APRIL 2013 |
There is an object in the people’s center, which bears the title skeletal (boat) and quotes the form of a wooden rescue boat from the early 20th century. The crossbars of the benches are so close together that no one can sit on them. They form a clean grid, which gives slits here and there.
The bow points towards the wall. Here are 18 white canvases without title (wind). Their symmetrical arrangement creates a feverish tension with the arbitrarily attached tile mosaic of the “boat”. Where a romantic glimmer of hope or a clarification of the situation on the horizon would be expected, a few empties of absolute emptiness spread over the canvases. The white images exude a calm, comforting fascination and have left the realization of the failure of Caspar David Friedrichs ice.
The scenery is dominated by a noise whose source is the video installation ring 3. In the continuous loop, a foamy and almost slimy spray of combs is presented, which greedily flush the beach. Due to the altered sound of the sea, nature plays an irritating taste, since the unity of what is seen and heard is blown.
timber la ruine
INSTALLATION (ROOM / SOUND / VIDEO ) | CEMENT / WOOD / SOOT / MONITORS | JULY 2014 | AUGUST 2010 |
PHOTOGRAPHY | FOTOGRAPHY / FRAMED INKJETPRINT | 47 X 67,5 CM | OCTOBER 2012 |
PHOTOGRAPHY | PHOTOGRAPHY / FRAMED INKJETPRINT | 47 X 67,5 CM | OCTOBER 2012 |
PHOTOGRAPHY | PHOTOGRAPHY C – PRINT | LIGHT BOX | 60 X 84,5 CM | OCTOBER 2012 |
I am here.
I have always been here.
Holding onto the edge,
Inconspicuously above the ground,
maneuvering the scaffolding.
Happiness strangles me
with triumphal ribbons and strings of success.
I dive down.
The wound is not obvious,
The base tint, conversely, escapes no one.
“Is it a different air that is breathed here?”
“Probably? The soft whistling suggests this.”
PHOTOGRAPHY | PHOTOGRAPHY C – PRINT | LIGHT BOX | 60 X 84,5 CM | OCTOBER 2012 |
apartment east | west
VIDEO | VIDEOSTILLS | HD VIDEO / SOUND – 13 MINUTES | OCTOBER 2012 |
With “Fragment” Frank Balve takes up the theme of the memory for the first time. Formally, the walk-in installation is a new construction of parts of the destroyed re-construction of a space that Balve had created following personal memories. The fragments were reassembled into a sequence of three rooms, losing their original coherence. From room to room, the number of coordinates decreases, like a fading reminder, which becomes increasingly fragmentary until finally it reduces to a few unrelated images. The combination of plastic elements, moving video ads, photographs and disturbing sounds resembles the multimedial character of memories, which can include pictorial elements, film-like scenes, sounds and above all emotions. A key function is the photographs and videos that refer to previous events in these rooms. They show a female and a male protagonist in the still intact setting. The surreal, nightmare images suggest gloomy associations of individual fears and tendencies of violence.
The place appears loaded with the energies of past events, which are modeled or imagined by the viewer, perhaps also interwoven with their own memories. A disturbing feeling arises, an irritation similar to the aftermath of a nightmare. The depraved depravity and the identityless bodies with their blurred faces also give the work a metaphorical dimension: the neglected demolition house becomes a symbol for the human psyche, for the uncontrollable processes of our memory.
INSTALLATION (LIGHT / VIDEO /ROOM / SOUND) | PAINTING / PAPER PULP PLASTIC / PAPER / WOOD / ACRYLYC / HOUSEHOLD PAINT / TILES / FABRIC / BAROCK FURNITURE / RUG / WINDOW | MAY 2012 |
Frank Balves’ highly complex work revolves around often uncomfortable issues of social and ethical relevance. In elaborate room installations he combines non-representational painting, video installations, paper sculptures, lyricism and sound collages into multimedial concepts of museal dimensions. He often refers to works of classical panel painting or literature, and plays sovereignly on overgrown genera.
Surveillance, voyeurism, media consumption, institutionalized violence: “120” is based on the novel “The Hundred Twenty Days of Sodom or the School of Debauchery” by the Marquis de Sade (1785), one of the most controversial works of world literary literature, due to the cool depiction of sexual perversion . Balve, on the other hand, focuses on the most overlooked social critique of the text which denounces the institutionalized control and discipline of the “others” by the rulers.
While the first exhibition space is designed as a representative baroque interior with the classical pictorial arts of painting and sculpture, a darkened and tiled back room evokes associations with a slaughter house or prison. In the corners are three video projections of naked, crouching bodies with black hoods to be seen – a pose that calls in the collective memory stored images of torture victims from prison camps. To the sounds of a deconstructed Chopin, the life-size body projections, reproduced in extreme slow-motion, unfold a disturbing and at the same time captivating effect that takes the viewer away from his irritated everyday life and forces him to meditative calm.
die menge | working class
PHOTOGRAFY | WORKING CLASS | 2,63 x 2 M | DECEMBER 2011 |
Frank Balve’s photographic series “Die Menge / Working Class” plays with the classic metaphor of two bodies merging, but here the romantic love associated with this image seems only to be a traditional ideal. The sepia-toned, 2.63 x 2.00-meter images depict a dark background with two naked torsos, which are similar in form and stance. At first glance, the images appear to be reflections, but this impression is false. The figures merge and their outlines converge in some places, while in others the contours of the bodies blur and become abstract forms. Equally uncertain is the sex of the subjects: heads and genitals are not visible, the skin is shaved down to the pubic area and, with few exceptions, the forms are androgynous. Technically speaking, the images are montages of body parts of different individuals that the artist combines as collages on the computer and then edits. Resulting from uncertainty, the ghostly character of the images is reminiscent of the medium‘s early days, such as those of spiritualist photography or early radiographs. Associations with medical images are also possible, like those of emaciated patients or Siamese twins. However, the fashionable piercings and tattoos permit the conclusion that the individuals portrayed strive to represent a contemporary ideal of beauty. They appear as followers of a narcissistic body cult that negates both gender and individuality. SO
INSTALLATION (VIDEO) |VIDEO- PERFORMANCE | PLASTIC | VIDEO – 5 MINUTES ENDLESS LOOP | NOVEMBER 2011 |
VIDEO | INSTALLATION ERSTER GESANG | VIDEO – 92 MINUTES | BOARDWALK OVER 30 TELEVISIONS | OCTOBER 2011 |
In the room installation “Erster Gesang”, which he wrote especially for firstlines, refers to the artist on the Divine Comedy by Dante Alighieri. To this main work of the Italian poet, Frank Balve wrote a 15 x 2.8 meter large, 42 individual canvases and an audiovisual installation, which can be seen on 15 monitors, which is to be surpassed by the visitors.
Frank Balves attempting to accommodate Dante’s dances into the 95 square meters of the gallery seems to be dared, but after an intensive examination it emerges as an excellent, abstract production of the literary classics. Through an intensive color symbolism, strong contrasts in the handling of the rooms, exciting visions and the change of media, tempo and style, the crossing on the Styx is actually made perceptible.
In order that I might flee this great misfortune,
That you lead me to where you said,
So that of the holy Peter door I see
And those whom you portray as so sad. –
Then he went, and I followed his steps.
– Dante, Divine Comedy, first song
VIDEO- PERFORMANCE | VIDEO – 84 MINUTES | OCTOBER 2011 |
ASCHETAUCHER | INSTALLATION ROOM | VIDEO | JANUARY 2011 |
INSTALLATION (VIDEO- UND SOUND) | VIDEO – 106 MINUTES | WOOD / GLASS / MONITORS / LIGHT BAGS | JANUARY 2011 |
The work is a space-grabbing media installation consisting of two sculptural elements: One of them is a free-floating roll consisting of 30 equal-sized televisions. These are arranged in a circular shape in three columns (one-armed bandit). Can be seen, rotating gambling symbols (lemon, melon, the number 7, etc.) and light staccato passages. The wheel measures 2 x 2 meters. The second element is a doll lying in one of the corners, on the ground. This is adapted to the wheel color. The dimensions of the doll are 1.80 x 0.60 meters. The sculptures and sculptures are supported by a sound installation. This sound collage is made up of playing games, which come from casinos. The theme of the game is the starting point for the sound installation. The theme of the class exhibition is the Indians of North America. Frank Balve dealt with the aspect of gambling and its consequences on operators and visitors (addiction). Another theme is the blindness of society and the distraction of historical facts.
PHOTOGRAFY |PHOTOGRAFY C- PRINT | DECEMBER 2010 |
“I need to sell clouds,”
While triumphant carnations grew in his footprints.
“Do you to dig for more colors in the jagged rock?”
“Yes, because they are bursting beautiful, yet deceitful to their tips!”
Fine hair swinging from the shock of half-lost scenes.
Facade dead and cold,
Frozen in the fraction of time
Windows modestly veiled in the shade,
Silky, shimmering, open and bright.
Crystal clear ear, but no trace,
Sparkling, gazing down in the depths
Chronic pulsating along those pipes,
whose metallic sound of their sound arose.
“I cradle the sleep in the world that I know,”
He uttered with a low whistle through closed lips.
“It is as if we already have it behind us,”
she responded, unimpressed.
A horde of rigid eyes, gray satirizes,
Frostbitten watchman, shoots dull and weak,
Witness of wild lashes, it sets the stone in motion
And allows the image to freeze.
To jagged peaks that beckon lisping,
Lips become crevices of moist quince.
“Happiness is not achieved by his death,
But by the dismemberment of its moments,”
He lifts her with a smile.
“Just like people, I attack my surroundings,
As I see fit!”
She kneels again.
“But at what price?” –
Muffled mouth around cacti filth,
Glowing with health, despite liquid purpose,
Now aflame with salty fermented fruit
It drives away the sand with tears of desire.
The swollen pores of the plaintive sisters,
Tongue-tied they run, praise and slander.
PHOTOGRAFY |PHOTOGRAFY C- PRINT | 4 X (100 X 70 CM) | 2 X (66 X 100 CM) | NOVEMBER 2010 |
im kantigen fels nach farben graben
INSTALLATION (ROOM / SOUND / VIDEO ) | WOOD / MONITORS | VIDEO – 68 MINUTES | CELLAR INSTALLATION | WOOD BOX IN SHOPPING WINDOW | OCTOBER 2010 |
INSTALLATION (ROOM / SOUND / VIDEO ) | WOOD / METAL / MONITORS | WALL WITH MONITORS (8,00 X 4,50 M) | WREK (6,00 X 2,50 M) | JULY 2010 |
INSTALLATION (VIDEO) | THREECHANEL – TRYPTYCH-VIDEOINSTALLATION | VIDEO > 1 MINUTE | ENDLESS LOOP | APRIL 2010 |
midas stürmt paktolos – fenster zur Welt (day/night)
DIGITAL PAINTING (PLOT) | 2,24 X 1,26 M | MARCH 2010 |
48 / 24
VIDEO – PERFORMANCE | 48 HOURS TIME ACCELERATED | FEBRUARY 2010 |
DIGITAL PAINTING (PLOT) | JANUARY 2010 |