paradise-like prime condition, in which also wild  and daemonical things live in unison, in which a change-over from one nature to another is still possible, in which no estrangement exists. This holistic demand, this longing for nature bears in itself a still unbroken animistic way of thinking. I would like to also point out a group of four drawings, which were made in common work by Irmgard Gottschlich with Harald Finke. Machine phantasies are presented: the beloved car is anthropomorphoused  and treated with irony.
 
Some desperatly want to get to mars, Harald Finke on the other hand enters the dialogue with the plants. "KŸnstler - Forscher - Eremit" ("artist - researcher - eremit") was the title of a former exhibition in Hamburg, which fits Harald Finke, who would extend it with the term social worker and shows this conceptual result in the here presented installation:
In front of us we see 2 screens on the wall, in front of those on a pedestal a plant, has been connected with electrical circuit by electrodes, the impulses of which are transferred onto one of 2 monitors by a program in the computer in graphical structures. The so-called Pflanzenschrift (plant writing) evolves on the screen.  On the other monitor the parallell drawing by Harald Finke appears, who follows the impules imitatingly and enters into a dialogue with it. Or like it is shown here in the examples makes a counter drawing by drawing the Daimler-idea blueprints and  confronts  the seemingly automatically happening process of drawing of the plant writing  with the drawing of the artist.
h.F. presents the creative process of creation of researcher and artist in an alchemy laboratory-like situation. There the high technical efforts (fuer einsatz....?, geht das?) are not in contradiction to the media of the drawing. The technical level of the work has more pointing character than scientific empirical result character. With his works he carries out the trial  to burst the anthropocentrism with the aim to initiate communication inbetween species and here especially a dialogue with the plant world.

With his art experiments he deals with the relation of art - nature - human. His interest is with secret, foreign worlds, other beings of nature. He formulates questions, writes letters to plants, animals and stones, starts a jouney into the unknown. Fascinated by studies of J.W.v.Goethe of the primitive plant he wants to explore the phenomenons of our environment, wants to tune-in with primitive memory and primitive information. With curiousity and openness for the other  he absorbs, reacts, has the will for dialogue with the plant world as a living being on its own, wants to erase borders and react not autistically and monologically as artist, but with dialogue.
The longing for a oneness in harmony with nature and a memory for lost and gone knowledge as well as for pushed- aside worlds is being enlivened, formulated and so-to-say appealed to the cultural memory  by the DaimerCircle in this exhibition. Nowadays though kos- mogons are not producable any longer and a nature philosophical contemplation of the stone like it existed in the classical teaching of elements until the 18th. century, has long been pushed aside by empirical science,
But even more urgent becomes the memory and comtemplation on a new teaching of elements in the face of destruction of nature and the deprivation of our living basics  - water, air and earth, fire in the form of atoms, a teaching adjusted to  our level of science and technics, as for example the philosophers Gernot and Hartmut Bšhme demand and like the DaimlerCircle has made it its task in the discussion with science and art in this exhibition.


I hope you will have as many flashes of genius, kindling sparks, the truth will begin to dawn on you and call out like Archimedes "Heureka - I've found it", when looking at these works. Thankyou for listening to me.