In her artistic work, Astrid Busch deals with places and their experience. She examines architectural designs for their sensual perceptibility and their effect on people. The aesthetic experiences generated by the interaction of all senses flow into her works and are transferred into spatial installations. She uses those means that can be found in the respective locations, such as lighting conditions, soundscapes and materiality. Thus, her installations thematize the individual character of a place while at the same time they form new places.
Astrid Busch deals with the different aspects of photography without seeing herself as a photographer in the classical sense. Her works refer to found and self-generated images, which she collects at specific locations, photographs again and transforms - as a whole, in parts, as well as changed in dimensions and then prints on various materials. They are staged into site-specific installations in the exhibition space, and references unfold in an associative manner.
Astrid Busch arranges her own and found photographic material and collected found objects into so-called "settings" as the basis for her photographic images. In them, layers of time overlap, traces of the use of the materials become visible, transporting atmosphere and energy, and their compositional aspects tell stories around architecture.
Utopian spaces, ideal cities and actual urban planning interweave in the works of Astrid Busch and show an interplay of vision and reality, achievement and failure. The result is a field of tension of atmospheric and architectural, indeterminacy and firmly built composition.
The artist references the architecture of Martin Mikaelyan and Oscar Niemeyer, overwriting historical images and found objects with her own photographic work. Conceived for the HayArt Cultural Center in Yerevan, the works were created in the context of the artist's research on planned cities and refer to the two cities built in the 1960s, Mezamor in Armenia and Brasilia in Brazil.
Artist: Astrid Busch