[2001] Room Display

Wood constructions, paint, two rear-projection videos, stage projectors, projection mirrors
Dimensions variable (approx. 1200 x 600 x 225 cm)

"[...] Thus, it is even more inadequate, to simply speak of "images". It is quite clear that these images are only an evanescent moment within the "installations", in which Karina Nimmerfall has allowed them to appear. The viewer is surrounded by walls. He moves among them in rooms where the picture's panorama reveals the exterior. Indeed, these installations encompass the viewer. They provide him with a room that opens his gaze, while simultaneously fixating his back. Entirely as if the assertions made earlier in this text were to be refuted: that there are images that take the viewer in, encompassing him from behind; that there are Images, which physically absorb him. Whereas other images only follow strategies of distancing. But don't Karina Nimmerfall's installations retract into themselves? Don't they absorb the viewer as physically as the images do, by surrounding him with a manifest space and refusing to release him? What about the "distancings" in these images, when they have encompassed the viewer, when they have spatially and physically absorbed him?

Actually, Karina Nimmerfall's images, which strive to meet their own disappearance, or are snapshots of their own abscondance, represent the same standpoint as the space in which they reveal themselves. These artworks are not "installations", if the definition has been made out to be the creation, delimitation and fixation of a particular space. On the contrary, how can space exist, in a place in which the alleged core, the reputed "soul" of the viewer has expired in the cold flickering of digital manipulation? Which perspective allows for the construction of a "room" in which a layover, a sojourn, much less "being at home" can be experienced; when the soul itself has been transformed into a transparent animatio? [...]"- Hans-Joachim Lenger