Psycho-Chemistry and Bio-Phantasy Oliver Ross Short text at the opening to the exhibition on 2nd. of sept.2004 by Sigrid Puntigam Dear visitors. After this poeto-logical explanation by Oliver Ross, which -as he imphasizes - should not only be understand as humanistical program of appeasement - and you can ask himself later about that - I would like despite and in the sense of by the artist quotated dramatical end words  in Goethe's sense add some explanations to the exhibition. with this dense text of art the artist exclaimes a programmatical position - already the words 'poeto-gogical' bear the dichotomy of art and science, which is the subject, as well as with his 'language of art' and the word findings (inventions), which have to be understand together als an imminent part of the work.   He uses the media of the written word , the 'textualisisation' as well as the spoken exclamation, the 'making into speach' of art, as he himself calls it, in order to translate his spiritual way of seeing himself. by this he places himself in a tradition of art of the critical started, which these days is dominated by anything-goes. I hope your level of adrenalin is not too high yet or you have chocolate with you (or have just come back from jogging), so that the endorphines can give you the feeling of happyness and the 'psycho-chemistry' is again in harmony. would our emotional houshold really function like that, then our 'psycho-chemistry'  - as Oliver Ross formulates in his phrase invention - could be recuced to that, or is there more, that what he describes as 'bio-phantasy'?

On the invitation card the artist has expressed what is on his mind in provocative in-the-face comic language. The "innerworld hypothesis" is turned to the outside threedimensionally on it and thrown into the garbage bin of the soul out of which the sublimation flows excrements equated with chocolate in a toilet bowl, produce asso- ciations instantly with with the 'chocolate rasp' by Duchamp, - chocolate which then will be flushed in its  toilet. The toilet lid suggests a bomb, which lets the psychochemical household of substance in the brain explode. Whilst in the right of the picture is shown some sort of color alchimistic laboratory of Freud produces processes of suppression and something which reminds at cell nucleuses is multiplying itself eternally.   What then is on the mind of this artist so quasi obsessive ' what and about what is it all about? When we look around, the artist has developed machine phantasies, which he puts into relation to the machine of society and to the technical machine world which rushes passing by outside.  He also takes the question and the discussion of the 'four cycle engine project' of the EINSTELLUNGSRAUM about the relation between art, natural science and technic, especially of the process of metabolism which takes place in the otto motor. But what kind of machine phantasy is this which is developed and dealt about here? A body machine, a psycho machine, ein psycho-physical motor? What kind of human image is delivered? Is everything functioning mechanical, is everything only 'psycho-physic', 'psycho-chemistry' or is there more, the 'bio-phantasy'? In the window of the EINSTELLUNGSRAUM the "physio-cubistic" color gadget is pulsating, the 'bio-chemical phantasy" standing in the room takes all the attention;

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