Hence a whole system of order which orients itself by the machine and even the own actions are adjusted to them - and in the midst of it still one that destroys this order. - I surprise myself thinking: now he has it, the correct focus, the perfect grid
- like it ought to be for a true beamer and like already
Leonardo da Vinci and Albrecht Duerer used it, to systemize the world und to catch it in the picture as precise as possible. but as soon as I recognize the familiar order the robot, the embodiement of order, jumbles up  everything. Unimpressed by the big inventions of the technic, the art and my attitude of expectation it disolves the grid again and steer here and around again, searches the room with its big eyes and formulates new unfocused wobbling pictures. What it is it searches is a mystery to me - well, the question of course is if it searches something at all and if it has an aim. Maybe it has lost orientation  is besides the main line and sees double - no, silly.....of course it is only a robot, a programmed machine that does what the inventor asked it to do.

And still - in its stoical infiltration of given purposes and orders it seems to me more like the opposite of a machine and also like the opposite of the automatons of the 18th. century and their heirs. Because in contrary to those that fascinate by perfect imitation of the reasonable human being and even then steer, guede and function controlled when the human has long given up,
Joern Zehe's robot shows a disfunctioning beamer, a crazy orientation, non sharpness and pictures that follow a coreography that I do not understand. the pictures glide above the spectators and the walls, immerse into and out of them again, evaporate and form newly and dance freely through the room. The picture world of this choreography as technically conditioned as it may be seems autonom and unforseeable. In its chaotical freedom it reminds hardly any more of the forseeable perfection of the technic but rather of tumbling dream pictures and principles of nature, which - even if they are understood - follow their own rulese. At the same time this world reminds of a higher order of unknown dimensions of which the reason  is yielded only in the fantasy. 
This world of unexpected, purposeless dancing pictures changes Joern Zehe's more unspectacular robot - in terms of appearance - into an electrophysical miracel machine, which inspires fantasie and changes the Einstellungsraum fuer Kunst im Strassenverkehr into an art and mircale chamber of the 21st century.
 
This metamorphesis would probably not have astonished the French poet
Paul Valéry. Already 100 years ago he predicted that the technical development would not only change the working world and the daily life but also art fundamentally. He wrote: In the face of the extreme increase in their adjustability and their precision that our devices have expericenced, one has to be prepared for such important innovations change the complete technics of art, by this influence the invention itself and eventually come (...) to change the term of art itself in the most charming way. Joern, thankyou very much for this 'charming' thing,


Elke and Llaura thanks for the invitation and have a nice evening everyone.
Jutta Weber
 
 



Lexikon der Deutschen Sprache (dictionary of the  german language), published in Leipzig/G. 1846, vol. 7, nr. 170, 3. december, pg. 22.
ii     Woerterbuch der deutschen Sprache  (dictionary of the german language) of 1876
iii    Only decades later it became known that 'der Tuerke ' (the Turk) in reality was 'getuerkt' (german word for 'manipulated' and 'fake'), as paricularly dwarfish people hid in it.
iv     Compare:
Literatur im Industriezeitalter ("literature in the industrial times ") [an exhibition of the German Literaturarchiv in the Schiller-Nationalmuseum Marbach on Neckar. Exhibition and cataloge: P.- P. Schneider, H. Dieke a. a.], Marbach 1987, vol. 1, pg. 13 fol.
v    Paul, Jean: The machine man and his characteristics, in: Paul, Jean: Auswahl aus des Teufels Papieren...,  (selection from the devil's papers....).
Gera 1789, pg. 509-520.
.
vi   Paul. Jean: Menschen sind Maschinen der Engel (humans are machines of the angels), sheet 1 of the manuscript. 1785 (40).
 

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