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

humans do and produce based on natural laws and is not also industrial production subjected to law of nature? Maybe it becomes evident from the in this exhibition perceivable connections that the hybrid also can be regarded as a transitional stage of what flows back into the naturally creative overall context. Thus the idea of the creativeness as three-dimensional formation from the prima materia is left to industry on one hand and on the other hand; it is the nature of matter being in process since the beginning of time which eventually does not only deposit the substances taken from it (also in the way of processing by people) but also taking them over in order to integrate them in organic tissue. We humans are indeed ourselves a passing entity that will evolve beyond the era of oil even though the imagination of most doesn't dare yet to look beyond the existing conditions. Maybe because of the threatening as well as fascinating changes in our environment we humans find ourselves in a situation of watching so that artists abstain to exercise their demiurgic work in order to change position to rearranging, composting and visualization of the unknown and hidden.¹²

3. The revolution of nature
In the dialog I had with Antje Bromma and Hans Brückner at the occasion of the opening of the exhibition I defined the aspect of usage of waste as Ready-made against the creative by referring to the image of the human body in christian art as being a likeness of god respectively of gods in ancient art. I referenced concretely both reliefs at the Campanile of the Florentine Dome where Giotto represents the sculptor in the process of creating the human figure out of a marble block as analogy to god who forms. The three-dimensional molding of the external body of the human as perceived with the retina has been descended in western art the latest with photography. In parallel panoramas and dioramas also developed at that time with the plentiful presentation of tailored groups of 'humans' which with
increasing improvement of film technology were replaced at shootings more and more by extras of flesh and bone. The presentation of the films in the cinema reproduces them indefinitely often. Today animation film makers, developers of video games and medical personal work with digital images and animations that reproduce human bodies in any number.

Here lies the reason for the attention that we pay the above described works by Bromma and Büttner. Usually we would not have any reason to pay attention to the here existing parts that are produced in large quantities only to disappear after use or as excess in the dump. Nevertheless we do because they have been removed from the commodity cycle by the intervention of the artists in order to be brought to a new designation, which they were not designed for, to awaken our interest. The artists were spared the necessary efforts to produce own products which are taken over crude or slightly changed to present them assembled as an object resepectively an installation. Hier lies the reference to the dadaistic method of collage or montage. Its character is the composition of the existing with extensive abdication of forming the prima materia itself (moulding) or to knock a form out of it (sculpting). 2. Biological versus artistic creation The materials and items in the installation, the classification of which depends ultimately on the opinion of the observer, belong as well to the world of goods as also to the world of waste whereat they have largely forfeited their practical value. The artists felt that indeed they do have exhibition value given by rudimentary adaptation and especially by the construction of the installation. Beyond that the raw respectively base materials of the used stuff do belong to further categories: Some are natural products, like the wooden tubes of the pearl curtain and the bark mulch that is produces so that the wood composts easier respectively hinders the growth of unwanted Other products from synthetic fibers have their origin in oil. Many base materials of the synthetic material industry is derived from this natural resource. By that they also belong to an intermediate area because the plankton developed from crude oil is of natural origin and has become a primary product that concentrates many -also poisonous- components, only by chemical transformations due to absence of air and the mechanical pressure in-between the geological layers in the inner earth. At the border that we are used to draw between culture and nature the question arises if this differentiation is still appropriate. Is not everything that	humans do and produce based on natural laws and is not also industrial production subjected to law of nature? Maybe it becomes evident from the in this exhibition perceivable connections that the hybrid also can be regarded as a transitional stage of what flows back into the naturally creative overall context. Thus the idea of the creativeness as three-dimensional formation from the prima materia is left to industry on one hand and on the other hand; it is the nature of matter being in process since the beginning of time which eventually does not only deposit the substances taken from it (also in the way of processing by people) but also taking them over in order to integrate them in organic tissue. We humans are indeed ourselves a passing entity that will evolve beyond the era of oil even though the imagination of most doesn't dare yet to look beyond the existing conditions. Maybe because of the threatening as well as fascinating changes in our environment we humans find ourselves in a situation of watching so that artists abstain to exercise their demiurgic work in order to change position to rearranging, composting and visualization of the unknown and hidden.¹² 3. The revolution of nature In the dialog I had with Antje Bromma and Hans Brückner at the occasion of the opening of the exhibition I defined the aspect of usage of waste as Ready-made against the creative by referring to the image of the human body in christian art as being a likeness of god respectively of gods in ancient art. I referenced concretely both reliefs at the Campanile of the Florentine Dome where Giotto represents the sculptor in the process of creating the human figure out of a marble block as analogy to god who forms. The three-dimensional molding of the external body of the human as perceived with the retina has been descended in western art the latest with photography. In parallel panoramas and dioramas also developed at that time with the plentiful presentation of tailored groups of 'humans' which with increasing improvement of film technology were replaced at shootings more and more by extras of flesh and bone. The presentation of the films in the cinema reproduces them indefinitely often. Today animation film makers, developers of video games and medical personal work with digital images and animations that reproduce human bodies in any number.
The 03th. exhibition in HYBRID EINSTELLUNGSRAUM e.V.	Vernissage
	12 Such however natured decisions by artists touch questions of bio politics and influence an area between art, culture and life that was examined by Giorgio Agamben Homo sacer. Il potere sovrano e la duda vita, Torino 1995; German: Homo sacer. Die Souveränität der Macht und das nackte Leben, (Homo sacer. The souveranity of power and the naked life), Frankfurt/M 2002 - can only be mentioned by me here so that everybody may judge on her/his own where one stands beyond the idea of man and what responsibility is connected with that.
Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek
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