EINSTELLUNGSRAUM e. V. Antje Bromma und Hans Brückner: Wilde Mischung

also bonds of organic chemistry, hence bonds from industrial processes to make synthetic material based on oil and silicon bonds. (Because of this having been noticed with plankton it is foreseeable that these parts end up in the food chain). Thus one can assume that the crude oil based products return to their origin, because indeed oil has geologically evolved from marine living beings that were trapped isolated in huge numbers and enclosed between clay and sand stratum and have changed chemically under high pressures in the course of the development of the earth.

The nests into which birds have built synthetic materials and other products of industrial production are to be evaluated anew as well and can be regarded as models for improvised housing and thus as bridges between nature and culture. For this all available materials offer potentials of hybridizing which pushes Evolution forwards. The model character that parts of the installation have does not exclude a symbolic connection between the tissue into which Bromma's finds have been woven into and the biological tissue that enriches itself with molecules of civilization junk.

III Hybrid or creative?
1. What then is hybrid about this exhibition?

It is of interest for the year subject of the EINSTELLUNGSRAUM that the aesthetics related to our perception of things and thus also that of art pieces is hybrid. Aesthetics is not only defined by cultic and art historical traditions but also functions by shifting and re-evaluating of material and goods. When gold and precious stones have always demanded highest regard and esteem because of their brilliance and durability today industrial production offers manifold materials and substances of high endurance and evenly high value that sometimes can excel that of the traditionally most precious materials and elements. To the same extent that diversity of synthetic material has increased its mere quantity increases, as well as the ever higher number of products made from them. This mass production of partially precious and often extremely lasting material ironically has lead to these objects only being used briefly however and being discarded afterwards. Also products disappear in masses all of a sudden when their production has ceased or new product lines have been issued. Therefor they are as ephemeral as certain actions.They disappear below the horizon as suddenly as they appeared above it. Eventually these things outlast only in collections and in images where the statement of eternity of museums grant such artefacts the lastingness of antique statues.

3. Construction sites of evolution Parallel to the installations that remind of dwellings for people both artists are also disputing nests. Brueckner put them together from finds that he lists as follows: "branch of a fir in plastic from the Ocoberfest, plastic casings for installation of underground pipes, bark pieces found in the woods, sponge rubber ball from the 'Oktoberfestwiese' [name of the area where the Oktoberfest takes place] (my search- and find area), bees' nest, bees' wax, pigment, decoration items (the violet glitter strings), sunflower seeds, silicon, scuba ribbons (colourful plastic strings, hobby items for children who plait useless things out of them, in' some years ago)"¹¹. Remarkable like the composition of each individual nest is also the placing of the nests mostly above the eye level in the main room, the passage ways and in the basement of the EINSTELLUNGSRAUM where they are arranged understatedly so that like real nests of animals they blend into the existing matrix of also an urban environment. The contribution by Bromma regarding this complexity is a photograph she took in the yard of second hand car dealer. It shows a nest of hybrid materials built by a black bird on the front wheel of a small truck, protected by the wheel guard. In the context of the exhibition it becomes clear how the culture of animals and the artistic interpretation of waste by both artists meet in choice of material as well as localization of their objects. However the question remains: how could the black bird know that this truck was a slow seller? The dwellings of animals are increasingly interspersed with finds from civilization that do not need to have to conform with natural material by soiling. Birds and nest-building mammals - like squirrels - fall back to fragments of synthetic material products to build nest. Both artists identify with this procedure and put up this parallel for discussion here that wasn't yet conceivable by the Dadaists nor Neo-Dadaists. Whilst these procedures of collecting and nest-building remain accessible for the senses a revolution of evolution is occurring today in the oceans that has been noticed so far only by some biological scientific establishments. Microorganisms living in the oceans have newly been building into their cells drop-offs ground to molecular size. These molecules are available there in huge numbers because the synthetic material waste pieces floating on the sea, propelled by swell, are ground by rubbing against one another until they have reached a fine materiality that can be recycled biologically meaning it can be built into cells as molecules. Broken down in micro splinters the former product looses shape and value. It forfeits any cultural value because it retires from the world of goods and goes back to a natural condition. As far as we can assess this, in future life forms will no longer compose themselves alone from components of their metabolism that so far were considered 'natural', but will build into their cells	also bonds of organic chemistry, hence bonds from industrial processes to make synthetic material based on oil and silicon bonds. (Because of this having been noticed with plankton it is foreseeable that these parts end up in the food chain). Thus one can assume that the crude oil based products return to their origin, because indeed oil has geologically evolved from marine living beings that were trapped isolated in huge numbers and enclosed between clay and sand stratum and have changed chemically under high pressures in the course of the development of the earth. The nests into which birds have built synthetic materials and other products of industrial production are to be evaluated anew as well and can be regarded as models for improvised housing and thus as bridges between nature and culture. For this all available materials offer potentials of hybridizing which pushes Evolution forwards. The model character that parts of the installation have does not exclude a symbolic connection between the tissue into which Bromma's finds have been woven into and the biological tissue that enriches itself with molecules of civilization junk. III Hybrid or creative? 1. What then is hybrid about this exhibition? It is of interest for the year subject of the EINSTELLUNGSRAUM that the aesthetics related to our perception of things and thus also that of art pieces is hybrid. Aesthetics is not only defined by cultic and art historical traditions but also functions by shifting and re-evaluating of material and goods. When gold and precious stones have always demanded highest regard and esteem because of their brilliance and durability today industrial production offers manifold materials and substances of high endurance and evenly high value that sometimes can excel that of the traditionally most precious materials and elements. To the same extent that diversity of synthetic material has increased its mere quantity increases, as well as the ever higher number of products made from them. This mass production of partially precious and often extremely lasting material ironically has lead to these objects only being used briefly however and being discarded afterwards. Also products disappear in masses all of a sudden when their production has ceased or new product lines have been issued. Therefor they are as ephemeral as certain actions.They disappear below the horizon as suddenly as they appeared above it. Eventually these things outlast only in collections and in images where the statement of eternity of museums grant such artefacts the lastingness of antique statues.
The 03th. exhibition in HYBRID EINSTELLUNGSRAUM e.V.	Vernissage
11 Hans Brückner in an e-mail to the author
Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek
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