Gegenteil (the opposite)

The year project of 2005 has the term of paradies in relation to the term of car as its theme.
The paradise means - as part of a so-called Big Story  - the enclosed garden
(avest. pairi-daëza / Brockhaus)

The Big Storys, as trials to realize this garden by power organisation, have failed. Insofar binding imaginations of an aim have - as is known - become scarce. Still human beings are on the go, as long as they exist in SPACE and TIME. Aims still stay as blueprints of personal establishment of meaning out of evaluation of expe- rience. on a physical level the automobil has this difference between aim and imagination: the car functions as machine to reach the aim in a public space. the intended aim however is as such an immaterial topos and insofar hermetically limited.  Between stop and pause mediation is necessary.

The EINSTELLUNGSRAUM shows 8 different positions of artists which have an interest to express themselves within the announced context, that is to develop their signs. How far these signs will infact intrude into the public space, remains to be seen. From the given conditions the difference between private and public space is not that significant as the distinction between space and imagination.

The opposite / installation
artist's statement
Paradise is perfection is impossible to improve or change perfection.
Paradise is stability and the absence of movement,
paradise is impossibility of developement,
safety of paradise is comparable with safety of childhood:
Dependency of rules makes 'comfort' possible,
paradise is source but in no case aim.
Excursion out of paradise is the first break of the rules (first mistake),
begin of the path to wisdom, a search an expedition
excursion out of paradise is source of art..
We would like to change the EINSTELLUNGSRAUM into our studioroom - uncontrollable garden -
(the opposite of garden of paradise) of daily things, drawings, pictures, that can be put into movements with the help of mechanical objects.

We are twins and we work together on each project. We deal with many subjects, which evolve through our constant dialogs and observances. each of us brings her own 'language' into the common project. By that an atmosphere evolves which makes an approach possible with many different themes and technics.

Even if our projects - installations, objects, photography, drawings, paintings - appear very different visually, there is always a logic in their substance, which combines them with each other. In all our works exposition between reality and fiction plays a major role. We engage often with the ideas of truth and perception, falsification, camouflage, delusion. Class photograps for example evolve through unfocused foto documentation of the arrangements of the fabric pouches Klassenfoto (class photo), Meižner Porzellan (Meissen porcelan) of plastic dishes, life size furniture pieces of sticky tape  public property.

Often we work with collected and found material: packaging nets for fruit, plastic bags, foil, water pipes, toys, fabric. Regardless of the artificial material we often deal with nature and its different effects.  We let our- selves be inspired by popular reports about scientific ex- periments and research. Artificial organisms that move with the help of hidden mechanisms are in our laboratory project Forschungslabor (research laboratory). Landsca- pes of gymnatic pouches, bags and nets, garden forms of foam are other examples of our interest. Our project
Getting ready for Mars is presented for example in the form of a popular astronomy magazine.
In our works we also try to play with the onlookers, irony and humor are some of the ways that we use to speak about subjects that interest us.

Maria and Natalia Petschatnokov.
Born 1973 in St. Petersburg, Rusia (twins)