EINSTELLUNGSRAUM e. V. Norbert Wilting: Heidelberg Maschine

It could namely be seen here that the usual appreciation for art things is also applicable for fetiches of consumption and profane cults in show business and sports, in contrary to which art works are sensed more as spoilsports because they function as objects of decoding and disclosure that are not appreciated much in the literally like-clockwork functioning operation of a business in the billions that public entertainment represents.

Hybrid means 'double origin' and is a fitting term for the base material of the artist which comparable to a racing car was given its form by engineers and has been transferred to a visually certainly also attractive condition by an accident. The artistic work deconstructs parts of debris and wrecks from motor sports and remains significant for the later works by Wilting alone also because of the element of deformation and fragmentation, so that construction and destruction in an each in its own constitutive act determine the creation of shape. The assimilation and transformation of this material in an artistic work deconstructs the motor sport fragment and remains significant for the later works by Wilting especially because of the element of deformation. When the vehicles were thrown out of their path by the accident and by this also out of the race for the fastest lap time then they devolved into another state which Wilting took on because of its aesthetic distinctiveness; because this condition, for which a thing has been expelled from reality and by that been rejected, is what interests him. The abolished (abjekt)³ as art object is brought up for viewing again and thus been returned into the public discourse. It is about such a process of fetching the outcasted with the Echtzeit-Plastiken as well, where also the relation of objects to time is to be explained. In both work groups by Wilting it is about splinters of reality exists only intermittently.

At first they were created because of technical conditions and a desire, then they were dropped out of the circle of usability, to be returned to consciousness by being modified again by the reproduction as an art work. Today Wilting uses the inner drive that comes from the

It could namely be seen here that the usual appreciation for art things is also applicable for fetiches of consumption and profane cults in show business and sports, in contrary to which art works are sensed more as spoilsports because they function as objects of decoding and disclosure that are not appreciated much in the literally like-clockwork functioning operation of a business in the billions that public entertainment represents. Hybrid means 'double origin' and is a fitting term for the base material of the artist which comparable to a racing car was given its form by engineers and has been transferred to a visually certainly also attractive condition by an accident. The artistic work deconstructs parts of debris and wrecks from motor sports and remains significant for the later works by Wilting alone also because of the element of deformation and fragmentation, so that construction and destruction in an each in its own constitutive act determine the creation of shape. The assimilation and transformation of this material in an artistic work deconstructs the motor sport fragment and remains significant for the later works by Wilting especially because of the element of deformation. When the vehicles were thrown out of their path by the accident and by this also out of the race for the fastest lap time then they devolved into another state which Wilting took on because of its aesthetic distinctiveness; because this condition, for which a thing has been expelled from reality and by that been rejected, is what interests him. The abolished (abjekt)³ as art object is brought up for viewing again and thus been returned into the public discourse. It is about such a process of fetching the outcasted with the Echtzeit-Plastiken as well, where also the relation of objects to time is to be explained. In both work groups by Wilting it is about splinters of reality exists only intermittently. At first they were created because of technical conditions and a desire, then they were dropped out of the circle of usability, to be returned to consciousness by being modified again by the reproduction as an art work. Today Wilting uses the inner drive that comes from the	in-between world of fascination and scare in relation to technics and speed and tries to develop this in the three-dimensional distortion caused by himself, so that this 'something' which actually eludes visibility becomes represen- table. Now however he uses no more tangible modules but virtual ones. The raw material elements but virtual ones. The raw material are the sensations of a professional driver between routine and the often minimal variations which occur during the daily ride on the same old driving route and could possibly be characterized with the term 'conditions of the soul'. To represent these is the intention of Wilting who creates amorphous structures - he calls them 'Echtzeitplastiken' - which can be made visible with the help of imaging procedure which are described in the last paragraph. 2. Speed - precision - regularity The title of the exhibition Heidelberger Maschine relates to the daily taken driving route from Cologne to Heidelberg and back by Wilting in a gray station wagon. But by chance the title also alludes indirectly to the Heidelberger Druckmaschinen AG, a leading producer on the world market of off-set printing machines (located in the Germany city Heidelberg). Here in EINSTELLUNGSRAUM there is also a printer, but as an ink-jet printer it prints in a completely different process the in this exhibition produced space-illusional structures in realtime on-screen. The market of printing is in a process of change. More and more is printed individually an in small editions and the sales volume magazines and newsprint is dwindling. But this is another field which is mentioned here because by it is connected with the subject exhibited here by the factor of speed increase and it can absolutely shed light on some aspects. High number of prints and competition over readers in the time before internet have strained capacity of the printing machines so much that the paper webs ran over the cylinders marginal to supersonic
3. Julia Kristeva speaks of 'Abjekt' in the sense of the pushed-away and the dissociated that societies throw over-board, thus remove from once field of vision or - related to the psyche - to block out. She contrasts it with the 'object of desire'. See also: http://www.cla.purdue.edu/academic/engl/theory/psychoanalysis/kristevaabject.html (April 2010)	4This termination comes from a title of a series of paintings from 1911 with which Umberto Boccioni tried to capture 3 conditions of train travellers: the farewells, those staying behind (on the platform) and those departing (sitting in the train
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
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