To bring back the castaway
by Johannes Lothar Schršder

1. The construction of car wrecks

Norbert Wilting is not an unknown in Hamburg. 1993 he exhibited vehicle objects, monocoques and photographs in the gallery Cato Jans in the Hum- boldtstrasse 39 with the term "Faster", and made it into the feature pages of the Hamburg press1 with the photographs of his constructed demolished Monoposti. As well exhibited splinters of autobodies were varnished in the colors of the racing teams but the car wrecks - named 'Timewreckages' - kept the crude brown shade of cardboard from which they were built scaled down. Hardly more to the point than with the term Dekonstruktion, which at that time was circulating in philosophical literature of the Yale Critics, could one have allocated to these works, if that term being applied to literature wouldn't have evolved in a different frame of reference. After all it is that the constuctions of destroyed formula-1- racing-cars double the dysfunctionality of the autobodies that have merged in a different condition already by the transformation of kinetic energy and consequently were no longer possible to be entered in races. But it is not directly acceptable why the visual availability of the wrecks is supposed to be affected at the same time. Withdrawn from the eyes of the public only the photographs of the accident cars circulate in the media for a while. Contrary to that Wilting makes the bolides, 'deconstructed' by accident, to exhibition objects by which they become objects accessible for an after-viewing. In this way the machines, which are admired in a mass-cult, remain accessible also in the form of their destruction, because made to art objects continuity can be claimed for them.
Foto Wilting

But the transition from a public cult object in an object of cultural activities also reveals that there are areas where fetiches circulate that experience a different way of admiration and appreciation than the one that is common in cultural activities. But these wrecks, made from brown and gray cardboard and taken out of their time - the name 'timewreckages' 2 plays indeed with the temporary validity of their aura -, also show that there is a barrier between admiration and rejection and the space for criticism is sharply separated from the space for adoration of the speed mania. Because of the difficulty to expand the term 'Dekonstruktion' to art from the work with texts and as philosophical attitude it seems obvious to have another look at the car as an art object with the term 'hybrid' in mind.

1 Silke MŸller: Der Rest ist Fiktion ( the rest is fiction), in: Hamburger Rundschau (Hamburg daily paper), 9th of Sept., 1993, no. 37, pp. 49.  The term that Wilting used, reminds of time also being wrecked; because with the body damage  the laptime and/or the place in the race is lost.
The 1th. exhibition in HYBRID EINSTELLUNGSRAUM e.V. more pictures
Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek