Tracks of braking
1.
To reach into the wheels of history
For the first exhibition in the year cyclus "BREMSEN" (to break) the painting SPUREN(tracks) by Ahmet Dilek is shown. It has the subtitle "Frieden im Land. Frieden auf der Welt" (Peace in the country. Peace on earth) which is derived from a statement by Kemala AtatŸrk, the founder of modern Turkey.
To begin I would like to say a few words to the subject BREMSEN so that it becomes clear why this exhibition is within the year subject of the EINSTELLUNGSRAUM.In the talks here for the preparation of the exhibition after first thoughts about the technical side of breaking we were confronted with the question: are there actually pictures of breaking in art history? For now I can say that there were presentations of vehicles driven by gods and generals in art already in ancient times. Later also Cesars passing-by as triumphant men in a wagon with their war booties were pictured (for example: Triumph of CŠsar, a picture cyclus by Andrea Mantegna in the English Hampton Court).
The artists of ancient times presented gods who lounge nonchalantly and power-conscious in vehicles because they represent planets and stars who are in orbit forever. That this orbit movements in the sky which include also
For the first exhibition in the year cyclus "BREMSEN" (to break) the painting SPUREN(tracks) by Ahmet Dilek is shown. It has the subtitle "Frieden im Land. Frieden auf der Welt" (Peace in the country. Peace on earth) which is derived from a statement by Kemala AtatŸrk, the founder of modern Turkey.
To begin I would like to say a few words to the subject BREMSEN so that it becomes clear why this exhibition is within the year subject of the EINSTELLUNGSRAUM.In the talks here for the preparation of the exhibition after first thoughts about the technical side of breaking we were confronted with the question: are there actually pictures of breaking in art history? For now I can say that there were presentations of vehicles driven by gods and generals in art already in ancient times. Later also Cesars passing-by as triumphant men in a wagon with their war booties were pictured (for example: Triumph of CŠsar, a picture cyclus by Andrea Mantegna in the English Hampton Court).
The artists of ancient times presented gods who lounge nonchalantly and power-conscious in vehicles because they represent planets and stars who are in orbit forever. That this orbit movements in the sky which include also
about-faces
as well as curves and ellipses for changing stars* were presented as
vehicle rides is probably still today well understandable. But for
brakes on those vehicles which represent cosmic times one looks in vain
for.
The in cultural history authoritative icon of braking evolves from a different situation albeit also related to stellar believe. In tradition we find the middle-ages presentation of Fortuna, the Roman goddess for destiny who turning the fortune wheel embodies the inconstancy in changing times. Once people are sitting on the zenith of the wheel then again they tumble off the downwards turning side or they let themselves be pulled up hanging onto the other side (three illustrations here:
http://www.unifr.ch/spgn/marsch/Vorl 02.ppt)
This imagination of history as circulation says that raise and fall are not personal responsibility but that they happen through Fortuna's turn of the fortune wheel. The fortune wheel thus rendered effective for people a submission under fate until the vicissitudes of history started to be sorted out.
In representations of Mannerism the people who got together are decorated allegorically so that personifications of wealth, of pride, of envy, of war, of poverty, of humility and of peace are recognizable, one following the other and thus represent phases of history which entail each other. Such a differentiation of certain
The in cultural history authoritative icon of braking evolves from a different situation albeit also related to stellar believe. In tradition we find the middle-ages presentation of Fortuna, the Roman goddess for destiny who turning the fortune wheel embodies the inconstancy in changing times. Once people are sitting on the zenith of the wheel then again they tumble off the downwards turning side or they let themselves be pulled up hanging onto the other side (three illustrations here:
http://www.unifr.ch/spgn/marsch/Vorl 02.ppt)
This imagination of history as circulation says that raise and fall are not personal responsibility but that they happen through Fortuna's turn of the fortune wheel. The fortune wheel thus rendered effective for people a submission under fate until the vicissitudes of history started to be sorted out.
In representations of Mannerism the people who got together are decorated allegorically so that personifications of wealth, of pride, of envy, of war, of poverty, of humility and of peace are recognizable, one following the other and thus represent phases of history which entail each other. Such a differentiation of certain