《拉斐尔的钟摆（Raphael's Pendulum）》是一项2018年在德国罗氏Pen­zberg Pharma和诊断中心的新建筑中展示的现场特定装置。这个动态艺术作品悬挂在自然采光的中庭，作为一个集中互动和交流的空间，连接着办公室、会议室和实验室。

《拉斐尔的钟摆（Raphael's Pendulum）》探讨了对知识的推进，同时也提到了过去的开拓性成就。这个艺术装置的起点是拉斐尔的著名作品《雅典学派》，这是文艺复兴时期最著名的绘画之一。这幅作品全面地展现了对知识的获得。在这幅历史画作的中心，我们看到柏拉图和亚里士多德，他们为人文学科、自然科学、伦理学和政治学奠定了基础。其他哲学家、数学家、医生和天文学家从古代到文艺复兴时期都在他们旁边被描绘出来。这幅画展示了获得知识的可能途径：思考、写作、绘画、阅读、讨论、倾听、教学和学习。

在一个动态的编排中，一根摆锤穿越虚拟的画作，在整个中庭无形地展开，使其逐块可见。摆锤的第一次摆动移动到画作右侧的拉斐尔自画像处。然后，在另一次摆动后，屏幕停留在不同的人物身上。摆锤摆动的序列和突出显示的人物与他们与拉斐尔最相似的面部相对应。摆锤聚焦于58位人物中的21位，并在几乎整幅画作上摆动。

这根摆锤穿越了一个高度为18米、四层楼高、宽度几乎为13米的平面。文艺复兴时期所描绘的理想建筑与建筑物现代清晰的结构展开对话。

RAPHAEL’S PENDULUM, 2018

Roche Penzberg, Germany

The site-spe­cific in­stal­la­tion trans­ports the be­gin­nings of Eu­ro­pean in­tel­lec­tual and sci­en­tific his­tory to a place in which for­ward-think­ing re­search and knowl­edge trans­fer—a new build­ing at the Pharma and Di­ag­nos­tics Cen­tre Roche Penzberg. The ki­netic art­work is sus­pended in the nat­u­rally lit atrium, that serves as a cen­tral space for in­ter­ac­tion and com­mu­ni­ca­tion and links of­fices, meet­ing rooms and lab­o­ra­to­ries.

Raphael’s Pen­du­lum ad­dresses the ad­vance­ment of un­der­stand­ing while si­mul­ta­ne­ously re­fer­ring to pi­o­neer­ing achieve­ments of the past. The start­ing point for the art in­stal­la­tion is the “School of Athens“, one of the most fa­mous paint­ings by Raphael and of the high re­nais­sance. It is a holis­tic pic­ture about gain­ing un­der­stand­ing. In the cen­ter of the his­toric paint­ing we see Pla­ton and Aris­tote­les who laid the foun­da­tions for hu­man­i­ties, nat­ural sci­ences, ethics and pol­i­tics. Fur­ther philoso­phers, math­e­mati­cians, physi­cians and as­tronomers from the an­cient to the Re­nais­sance pe­riod are por­trayed next to them. The paint­ing shows the pos­si­bil­i­ties of gain­ing knowl­edge: think­ing, writ­ing, paint­ing, read­ing, dis­cussing, lis­ten­ing, teach­ing and learn­ing.

In a ki­netic chore­og­ra­phy, a pen­du­lum swings across the vir­tual paint­ing, which is stretched in­vis­i­bly across the atrium, mak­ing it vis­i­ble piece by piece. The first swing of the pen­du­lum moves to Raphael’s self-por­trait at the right side of the pic­ture. Then, after a an­other swing, the screen pauses at a dif­fer­ent fig­ure. The se­quence of the pen­du­lum swings and the fig­ures high­lighted cor­re­late to their great­est fa­cial sim­i­lar­ity to Raphael. The pen­du­lum fo­cusses on 21 per­son­al­i­ties of the 58 peo­ple por­trayed and swings over nearly the whole pic­ture.

The pen­du­lum moves across a plane that spans a height of 18 me­ters, four build­ing floors and a width of al­most 13 me­ters. The de­picted, ideal ar­chi­tec­ture of the Re­nais­sance and the con­tem­po­rary, clear ar­chi­tec­ture of the build­ing enter into a di­a­logue.