Dino Korati: Hagenstr. 30 (Studio Ypsilon)
Dear Korati, we are very pleased to speak with you about your fascinating work, where the reflective surface of an emergency blanket transforms two video projections into a hypnotic play of shimmering reflections. Your work uniquely combines physical material with visual illusion. I would like to ask you a few questions to better understand the creation process of your work and the underlying conceptual ideas.
– What is interesting about participating in a light and media art project in Gelsenkirchen? Why did you agree to take part in GOLDSTÜCKE?
I find it exciting to participate in a light and media art project in Gelsenkirchen because it’s a great opportunity to work creatively and shape the city in a special way. I became aware of the project through Yvonne Haveloh, and she also recommended me – for which I am very grateful. It’s a joy to be part of a community that makes art visible and excites people.
– How does the context of Gelsenkirchen (or the specific festival location) influence your work? Are there local elements or aspects you’ve incorporated?
My work is heavily influenced by the limited space in Ivonne’s office. That’s why I decided on a small, interactive installation where visitors can influence the space themselves.
– Can you walk us through your creative process for this piece, from the initial ideas to the concept and the execution? How does this work relate to your general artistic practice, or does it differ from it?
For this work, I used the emergency blanket as a reflective source for the video projectors to avoid the typical 16:9 format. Instead, the whole space is used, keeping the technology in the background so that visitors aren’t fixed on a screen but experience the entire room as a work of art. This is a deliberate step to draw the visitors’ attention to the space and their interaction with it. This approach connects to my general practice of utilizing spaces in unique ways, but here the focus is more on subtle technical execution.
– How do you approach creating art in public spaces? What specific challenges and opportunities arise from working in public spaces? What kind of location did you choose for your work, and how did you find it?
In my public space work, I try to keep the technology in the background. I really enjoy working with light and projections to create subtle and immersive experiences. The visitors play an important role—whether through their shadows or by crossing the projections, which, for example, can create a Moiré effect. For my current installation, I chose Ivonne’s office as the location, which gave me the opportunity to create an intimate and interactive experience that engages both the space and the visitors.
– How do you hope viewers will interact with or experience your work? What do you want them to take away from it? Are there other works in this year’s festival program that particularly interest you? Do you have any recommendations for the audience?
I hope that visitors will not only observe the installation itself but also the behavior of other visitors in the room. It’s exciting to see how the projections change when people enter the space and influence it in their own way. Before they become part of the installation themselves, I want them to notice this process and engage with it.
A recommendation for the audience would be to take their time to enjoy both the interaction of others and their own experience with the space. There are also many other exciting works in this year’s festival program that offer different perspectives on public space. It’s worth being open to various approaches and letting the diversity inspire you.