CLEMENS HORNEMANN

3* !  /  3* !  /   !!!

In an era defined by AI prompts, tweets, posts, and the compression of information, artistic verbal instructions, also called performance scores, provide a particularly fitting mirror to examine the intricacies of our daily lives. 3* ! html for 3*! or even simpler !!! is a digitally dispersed performance scorebook containing 99 of such conceptual written artworks. The book consists of a digital part, spread over 99 different comment sections across various websites (always signed with Hornemann, C. (2024), Score XX/99, 3* !), as well as a limited edition analog archive part, with links to all the comments. In this format, I challenged myself to examine the possibilities of an artist's book in the post-digitization era. Directed at both human and non-human participants the scores seek to instigate a reevaluation of the relationship between the analog and digital realms, prompting reflections on our current state and possible futures. In their simple form, the scores are inspired by the scores of various artists of the Fluxus movement.

Message me if you are interested in buying a printed version
(Edition of 99, 10x10cm, front and back cover made out of PCBs, handmade)

Automated Ritual no.1

Automated Ritual no.1 is a dystopic, mechanical orchestra, sonifying modern stock market data of commodities. The archaic and raw instruments in this orchestra are replicas of Stone Age instruments that were found across Europe and are harnessed and played by contrasting machines and motors. Rituals and the hunt in which the instruments might have been used 7-40 thousand years ago, were replaced by a complex dirty machinery of modern forecast systems and stock market speculations. The goods, the concerned commodities we trade on the other hand, that we deal with and need to survive, haven’t changed a lot.

Honorable mention Hochschulpreis HFK Bremen 2023

AGAINAGAINAGAIN

A score/composition in three movements (Nature, Humans, Machines) for piano and AI (Stable Diffusion 1.5) by Marie Lefaucheux and Clemens Hornemann.

Excerpts from the score

UNDA

In the installation Unda, our digital communication, the very thing that holds our modern world together, is made physically perceptible. In two basins of black colored water, fine waves, interference patterns or bubbling areas become visible and audible, depending on the data usage (4G) around the installation. The waves are actuated by any upload and download of data from the visitors present, which are measured, converted into audio signals and played on 12 subwoofers in the basins.

Bachelor thesis 2022, Mentored by Prof. Ursula Damm, Bauhaus-Universität Weimar

Exhibited at Summaery22 Weimar and at the art festival Begehungen Chemnitz/Thalheim

(videolink upon request)

AR COAT

The Augmented Reality Coat is equipped with 27 marker images that trigger various clips and 3D models on your phone. These show a story about skin and affection - something that usually remains hidden under our clothes. All this works directly in the browser via AR.js and A-Frame. To open the website, all you have to do is scan the QR tag with your smartphone and point at the markers.

The goal was to develop a concept that allows another dimension of personal expression beyond the garment. With the help of the individual patches, it is possible to create an individual narrative and thus set a counter design to trends such as fast fashion and hopefully stimulate sustainable individualization processes.

A collaboration with fashion designer Julia Serrano Esteban. 

I DON’T SEE YOU

The sculpture is an imitation of a public binocular, which extrapolates out all the people when you look through it. For one day I placed the binoculars at the Bethesda Fountain, a popular photo location for tourists in Central Park, New York and documented the reactions of the public.

A small camera is connected to a RaspberryPi and captures the view. An algorithm trained on human movements (TensorFlow Bodypix) detects the people in the image and replaces them with data previously collected in that image section. This corrupted image is then displayed on a bright monitor that can be seen through Google Cardboard-like optics. Everything is powered by a V-mount battery and is built into a binocular housing made of mirrored plexiglass and 3D-printed parts.

The Binocular is not meant to help create a perfect image, but to question our perception, stereotypical images, and Instagram posts. It is about our relationship to real and non-real spaces and about seeing familiar things in a new way, about our everyday obsession with images - the hunt for the best photo "without the annoying other tourists".

WHAT IS WORTH SEEING?

In a museum, people stop to see an impressionistic painting of a street scene or cool street photography. But will people pause to watch the same scenarios live on the street?

Flatbush Avenue is a busy street running across Brooklyn, provided in its northern course with rarely used benches in the middle of the intersections. For one day I converted one of these absurd benches into a kind of theater auditorium: red cushions, lamp, red carpet and opera glasses. For one day the street became a stage, cars and pedestrians became actors.

IM RAUSCH DER ALLTÄGLICHKEIT

A modern visualization of the thunderstorm scene from Ludwig van Beethoven's 6th Symphony (Pastorale).

Created 2019/2020 for NDR Kultur.  Awarded with the newcomer award of the KURZSUECHTIG - Mitteldeutsches Kurzfilmfestival.

MENSCH-MASCHINEN-TRÄUME // MAN-MACHINE DREAMS

„After living with machines, humans dream of machines. What do the machines dream after living with humans?“

 A poetry film about flickering pixels, tenderness and approach, horror and familiarity - pictorial reflections on the everyday interaction between man and machine, performed by human-like computer voices.

Poem by Clemens Hornemann, based on reflections and texts by Thomas Brasch 

(videolink upon request)

PANOPTICON – MODULARE LEINWAND // MODULAR CANVAS

The theatre/video performance "Panopticon" dealt with the theme of totalitarian surveillance and escape from it. Set up on a stage, there were several cubes on which projections could be seen. Individual people had been trapped in their own cube spaces without noticing it and pursued their everyday activities (projection). They were observed by two supervisors (real people/actors). Due to a mistake made by one of the trapped individuals he is put into a special white-cube by one of the supervisors. The other people notice their own imprisonment and try to escape.

Realized together with Timm Weber in a project course of Prof. J. Huefner and Prof. J. Hintzer

Documentation – behind the scenes and performance at Summaery2019, Weimar

VRCAR

Using a VR headset, the player was able to operate a self made RC car and its lights and stear it through a dark parkour. The goal was to create a game that takes place in the real and virtual world of the user/player at the same time: