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Though the change
between the two forms is compacted timewise. 30 years became 11 days.
Taken up is the condensed interplay of the elements 'time, sound,
movement and body' in space. It was expanded by computer controlled
analyses which point to the direct outside - by trails of
movement left behind by visitors.
So far the room has noticeably been dynamicalized from the outside and inside. And now: the used tires have been put in a new order. Organized to columns they are standing one on top of the other in the room and frame visitors and guests whose talking during the evening is about opinions on social mobility. The field of social interaction is supposed to be expanded again before the end of the exhibition. On two institutions within the vicinity of EINSTELLUNGSRAUM, which - so it can be assumed - are not only topographically (by the traffic axis Wandsbeker Chaussee) separated but still are aiming for taste training both: Die Hochschule fŸr Bildende KŸnste (academy of arts) and die Staatliche Gewerbeschule fŸr Gastronomie und ErnŠhrung (State trade school for gastronomy and nutrition). |
In
dialogue-like interviews Goran Rakic and Anna MŸller asked students and
staff there for the conditions and true effects of social mobility.
How are the subjective career plans, wishes for advancement and advancement chances, experiences in cooperation and competition judged? First physical expression then social-scientific analyses? Kaprow argumented 1968: "(...) it should be obvious that although someone might be against form from an ideological standpoint, the nonformal alternative is no less fomal than the formal enemy. Literal nonform, like chaos, is impossible. (...) For cultural or personal reasons, we may prefer this pattern to that one Ð say a pile of shit to a series of cubes Ð but they are equally formal, equally analyzable." in: "The Shape of the Art Environment" (1968), in: Essays on the Blurring of Art and Life, ed. Jeff Kelley, London 1996, pg. 90. |
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