ULF photo 2



Ulf Langheinrich

Ulf Langheinrich was born in 1960, in Wolfen, Sachsen Anhalt, Germany.

He lives and works in Dresden and Hong Kong.

In 1991, he and Kurt Hentschläger founded the Media-Art duet GRANULAR-SYNTHESIS and have realised for more than a decade a number of international large scale projects including MODELL5, NOISEGATE and POL. They exhibited and performed at the Museum for applied Arts ICA London, Hull Time based Art, MAK Vienna, Museums of Contemporary Arts of Lyons, Montreal and Seoul, The Stedelijk Museum, Kunstverein Hanover, ISEA Montreal and Liverpool, ICC Tokyo, Creative Time New York and the Austrian Pavilion at the Venice Biennial 2001.

GRANULAR-SYNTHESIS received an Austrian state stipendium, the first prize of the International Biennial in Nagoya (1995) and a PS1 stipendium for a residence at PS1, New York (1999). The work is published on a number of DVDs including REMIX/INDEX (Arge Index / Medienwekstatt Wien & sixpack films) and IMMERSIVE WORKS (ZKM / Cantz).

Ulf Langheinrich also released his first CD, DEGREES OF AMNESIA in 1998 (Asphodel Records), re-released in 2012 by DSX.org, and more recently IT WOULD HAVE BEEN FANTASTIC, a recording of his installation sounds (DS-X.org, 2012). His solo works between 2002-2010 are featured in a DVD, VISIONARIES 21 : THE AESTHETIC OF SENSORY, produced by Artfilms, U.K. - Australia in 2013.

He was Guest Professor at HGB University for Graphics and Book Design Leipzig (Germany), Guest artist and Lecturer of audiovisual Design at FH Salzburg (Austria), at RMIT in Melbourne (Australia) and at China University of Art in Hangzhou (China) and Guest Artist and Professor at Le Fresnoy, Studio national des arts contemporains in Tourcoing (France).


Full Zero

Shocking, yet prurient, Full Zero focuses on a total field performance by Chinese choreographer Luo Yuebing. Captured by a remorseless scanning camera, her ephemeral and delicate situation is transformed into an ambiguous body barrage of hypnotic beauty, both sensually and enraptured of the eros and its mortality.

Exhibited on a large screen, the piece imposes a voyeuristic situation upon the audience, where the tension is created in connection with the image flow onto and into the surface as truth or illusion. Seductively disturbing, the work addresses deep desires behind the notions of power in the consummation of ubiquitously available sexual images to viewers in solitude, and in dominion of nothing but their mouse or trackpad. It is essentially about control over people who are addicted to empty images that are inescapable, but uncertain - like memories.

Parallel spatial streams of high and low frequency oscillation pulsation textures flood the mesmeric space with vibrational in consistencies derived from a trance induced state of near purity where a kind of perceptive drowning to silence of the listeners syn-aesthetic time discernment is liquidated.