Catastrophes
are followed by evolution's construction sites Johannes Lothar Schröder about the exhibition Wilde Mischung by Antje Bromma and Hans Brückner I. Dialogue with material When entering the
EINSTELLUNGSRAUM the eyes fall onto a conglomerat of
material under which red light is seen glowing.
Recognizable is some industrial felt into which round
holes have been cut into and cut out, a synthetic fabric
sheathed with silver foil as well as synthetic foil and
foam material. Sprinkled over it are remains of a bead
curtain made of small wooden tubes and pompons from
shredded and tied paper the way fall kites may be
decorated with. Under closer inspection one notices that
the materials were layered over two chairs making the
whole thing resemble an improvised accommodation. A
warming source of red light and a floor of bark mulch
invite to crawl in but the possible entrances allow for
a small child to get through just so. The emerged
formation thus may function at best as modell than as
igloo - if one wanted to call it that. The cluster of a
former installation by Antje Bromma floats above.1
Because of its position in the air and above the
conjoint floor work the object acts like an
intellectual extract or a spiritual bon mot to the
layering on the floor. If nothing else this has to
do with the by Bromma collected predominantly small
and sometimes tiny parts being combined in one web
and setting themselves apart from the more extensive
and covering ingredients of the enclosure.
Brueckner as well as Bromma collect finds. So Brueckner picked up the silver foil after an agricultural exhibition on the Oktoberwiese in Munich, cut a grid of square holes into it later in the studio and sent it to Hamburg. In this way a dialogue started from which this concerted exhibition emerged. Bromma tested the possibility of this guideline by displaying, folding, rolling up, crumbling and sprinkling with playing cards or flakes. A second round was heralded by forwarding of an covering felt into which Brueckner had cut round holes. An also from Munich supplied lilac coloured foam mat initiated the layering and by that rapproaching a nomadic |
whereabouts
that took shape in the exhibition. The sent images
from Munich of a mask and the figure of a fishing
man with harpune deepened these associations with
archaic and phyloge- netic dwellings and
emphasized an improvised working method that
defied rationalistic planning of inner and outer
spaces2 with
its scope for design. Wouldn't
this approach not already have
started in architecture whose
protagonists once functioned as booster for post-modernism
we would have been surprised by this installation today.
But I do not want to guide attention primarily to this not
too long ago phase in art history but look back further on
the deepened relation since Dadaism of artists
to garbage and remains which has experienced booms since
Neo-Dada in the 1950s again and again and like here it
continuous to actively open space. II. To document replaces to be creative "The Dada Painters and Poems: An Anthology"* caused a great stir in 1951 amongst visual artists who - inspired by the expressed appreciation towards typographic experiments, sound poems and Ready-Mades by the author and painter Robert Motherwell - discovered the influential possibilities of time in visual art and as a result started to realize experimental installations and Happenings. Here they resorted to already existing materials, finds, aesthetics of goods, modules of typographies and the layout of newspapers, magazines and advertising. One could even draw a parallel to Renaissance where an appreciation for antique finds only started to develop. The relicts from the ancient world that were hauled during excavation work counted as rubble until then and found usage as building material. Those phases of disregard of later on respected things are concealed often. At the present such a cultural collecting of previously frowned upon can be observed in the exhibition 'Pop life' in Hamburger Kunsthalle (exhibitions and museum in Hamburg). One notices here how the roots of Pop Art that lie in the raggedly, the cheap and the production of junk - "Junk Art" - are distorted and suppressed with the exorbitant value-gain of Pop Art as collection and auction art.3 Though the artists of Brit Pop have been marketed profitably only since the 1990s even Damien Hirst cannot deny to participate at garbage when for example he obtains whole calves |
The 03th. exhibition in HYBRID EINSTELLUNGSRAUM e.V. | *Robert Motherwell (editor): The Dada
Painters and Poets: An Anthology, New York, 1951 |
1 compare my
explanations about her works in 2008 www.einstellungsraum.de/archiv_bromma1_engl.html 2 The perforation of the foil and the felt mimics also the rasterized facades of high buildings which are put up here in a softened variation. 3 With this applies what Walter Benjamin speculated about the apologia when he recognized in it the aspiration to "die revolutionären Momente des Geschichtsverlaufs zu überdecken" (cover the revolutionary moments of the course of history). Zentralpark, in: Walter Benjamin 'Gesammelte Schriften' (collected works), vol.I, chap.2, ¤3, pages 655-690, here 658 |
Vernissage |
Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek | |
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