Zeitgenossen > Reviews

(...) The current Festival [Ars Electronica 2005] should in any case be considered a milestone in the history of computer technology-based art. (...) They [Ursula Hentschläger und Zelko Wiener] combine the current information age and the antique world of myths. They show gods along concrete and turn everything into bits and pieces. This should bring us to the metaphysical emptiness of the present? Whatever! The artists begin to free themselves from the tutelage and imprisonment by the technology in which they were long kept. (...) One can also recognise behind the sycretism of the forms, which is the logical outcome, the desire for artistic independence of the tools. (...)

Bernd Graff > Sueddeutsche Zeitung 9/2005

(...) It is an amazing sensual experience. Marble statues that are a few thousand years old appear in coloured, digital fluidity and form a stark contrast with the concrete structure and steel supporting wires. Even heaps of rubble and pieces of rocks tempt the spectator here with light and shadows through their aesthetics. (...) No forced anachronism, but a remarkable sensibilisation for cultural change in our global village which is characterised by synchronism.

Martina Pfeiler > artmagazine.cc 5/2004

(...) This site is certainly one of the best currently on the web and one should take the time to experience the abundance that is collected here. (...) Take for example the section ”Phantasma”. The theme here is the past, the passing, the curious persistence of buried, abandoned things, which are actually forgotten, but which pop up unexpectedly. (...) This is only an impression. One ought to let it sink in and then one understands what is meant in one of the texts on media aesthetics and which are also part of the web site: ”The ideal moment of mediatising is that point at which the user becomes part of the medium”.

Oliver Rehlinger / RBB online 7/2004


(...) The current Festival [Ars Electronica 2005] should in any case be considered a milestone in the history of computer technology-based art. (...) They [Ursula Hentschläger und Zelko Wiener] combine the current information age and the antique world of myths. They show gods along concrete and turn everything into bits and pieces. This should bring us to the metaphysical emptiness of the present? Whatever! The artists begin to free themselves from the tutelage and imprisonment by the technology in which they were long kept. (...) One can also recognise behind the sycretism of the forms, which is the logical outcome, the desire for artistic independence of the tools. (...) Bernd Graff > Sueddeutsche Zeitung 9/2005 (...) It is an amazing sensual experience. Marble statues that are a few thousand years old appear in coloured, digital fluidity and form a stark contrast with the concrete structure and steel supporting wires. Even heaps of rubble and pieces of rocks tempt the spectator here with light and shadows through their aesthetics. (...) No forced anachronism, but a remarkable sensibilisation for cultural change in our global village which is characterised by synchronism. Martina Pfeiler > artmagazine.cc 5/2004 (...) This site is certainly one of the best currently on the web and one should take the time to experience the abundance that is collected here. (...) Take for example the section ”Phantasma”. The theme here is the past, the passing, the curious persistence of buried, abandoned things, which are actually forgotten, but which pop up unexpectedly. (...) This is only an impression. One ought to let it sink in and then one understands what is meant in one of the texts on media aesthetics and which are also part of the web site: ”The ideal moment of mediatising is that point at which the user becomes part of the medium”. Oliver Rehlinger / RBB online 7/2004		Zeitgenossen Zelko Wiener & Ursula Hentschlaeger Reviews zeitgenossen.com/ phantasma
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