Nicolas Vionnet ART Habens several levels. However, I am not consciously looking for these multiple layers.
In 2011, I have realized the installation in a former Stasi prison in Chemnitz, Germany. The work consisted of a huge mountain of shredded paper, with which I have filled a former interstitial space knee-high. As additional audio-element there were hectic noises of steps and shredding machines. The whole work addressed the last days of the Stasi shortly before the fall oft he wall in 1989. The Stasi tried to destroy as many secret documents as possible. Even today, there are thousands of bags with shredded paper remnants that are now reassembled laboriously by hand. A hilarious story. In this sense you can see my work as a staging of the last hectic hours of the Stasi in 1989.
My work often focuses on the topics of integration and irritation. In other words, I ' m trying to integrate something new into the existing environment and thus to irritate at the same time. However, the confusion should be subtle. The phrase " nonhierarchical dialogue with the environment " describes my conviction that the artwork itself may never be dominant. Indeed, there should be no hierarchy. Ideally, there is a balance between work and environment. This balance allows the
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