Texte

retourne-moi-ausstellung-flyer
fenster-woanders-leben
orangen-woanders-leben
woanders-leben-ausstellungsansicht-skopje

 

Being somewhere thinking of somewhere else. Seeing something thinking of something else.

„Living elsewhere“ deals with the difficulty of interweaving things that are perceived on several levels into the current present.
Either present things or their transcription into my personal, inner picture world correspond to the way I am perceiving reality.

Where literal translations need to be found our constant search for translation will disclose.

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Zwei verschiedene Aspekte des Fremdseins sind in meinen Brüsseler Arbeiten (2015/2016) wichtig:

Die Weise, auf die man sich als Fremde/r bewusst und unbewusst in ein soziales und kulturelles Gefüge verstrickt sowie,  eng damit zusammenhängend, die Sprachlichkeit des Woanders-Lebens.

Katalysiert durch die Unfähigkeit sich mitzuteilen, vergegenwärtigt die kontinuierliche Selbstreflexion eine Identität, die nicht länger von Außen her bestätigt wird. Man findet Wege zu sprechen – oft poetische – und man findet Geduld. Auf beiden Seiten.

Alles geht ein bisschen langsamer.

Alles macht ungeheuer müde.

Innerhalb des kleinen Bereichs, für den es Worte gibt, kann auf einmal alles sehr klar erscheinen. Eine gedankliche Gegen-Welt entwirft die unermüdliche Wort-Schleuder der Muttersprache.

Oder umgekehrt: In der Verschwommenheit der gehörten Sprache gibt die kristallklare Genauigkeit wiederentdeckte Wort-Schätze den Denkströmen Halt und Richtung.

Zwischen beiden Bereichen entsteht eine Bewusstseinszustand,  dessen Wahrnehmung spontan und unmittelbar funktioniert und vieles vermischt.  Die Gleichzeitigkeit und Vielschichtigkeit der Eindrücke befeuert Einsichten, deren Anzahl auf der Grenze liegt zwischen „erweckend“ und „ermattend“.

maedchen Kopie

 

Artistic practice – that means to ask questions, to find answers and to share both with a public.

I am scrutinizing things I am concerned with: There is the flightiness of images and thoughts amidst a fast-moving city as the solitude of a very slow and concentrated working process. Between these poles my paintings and other works evolve.

At every beginning there is something vague.
Sensations towards the world, society, intimacy; a notion of a deeper entirety – these are points of departure for an uncertain search.
Failure is indispensable (as my last name announces). I feel something is missing when I accomplish works without trouble.
This is challenging, but the only way to find a form that approximates the manner I experience the world.

At the end there remain inconspicuous depictions of daily life that are gaining universality – be it through narrative or exact observation.

 

The consistent inconsistency of being in touch/ Declaration of Dependence

(performed on 30th May 2018, ARBA-ESA Brussels)

P1120478

The idea for this performance came up in the first place as a result of the experience of moving from one place to another.

When I arrived, I knew nobody, I had a lot of time and I felt very independent. That includes: a state of vagueness, balancing, detachment.
First mission: getting installed.

I mean it right as installing a computer. You spread your cables towards your surroundings and the more connections there are, the better you work.

Of course, moving from one place to another is just an extreme case of a movement, that is always present. Attachments, tensions, contacts between people (and objects) get tighter or looser, are abandoned or made – unpredictably, inconsistent, but yet in a whole balanced and steady.

I am standing in the centre of the courtyard of the Royal academy.
Strings will pass the walls/windows that separate the yard from the hallway, there will also be some going up to the second floor – like this, participants will not necessarily see the impact of what they are doing. Neither will I necessarily see, who I’m interacting with.

Yes, interacting. It is important to not make it a public game with a performer, who stays passive as a puppet. It is decidedly not about undergoing forces but about mutual interaction.
As I am staying on a destabilizing half bowl, active participation from my part is demanded. I have to actively balance myself. Having my eyes open I am showing presence, and I show active participation in the act of balancing.

Resistance to force effects is one option to react; going with the impact is another. Things that are holding me are also things, onto which I hold. The question of heteronomy and autonomy is the question of subject and object. The antagonism is evident in several aspects:

I am constructing a situation that allows participants to perceive themselves as bodies in space. To perceive ones „being-in-space“ means to be aware of ones subjectivity and objectivity at one time. I am (and all participants are) producers of the image as well as the material it is made of. I affect space but also I am affected by it.

The collective experience of „being in touch“ is in its base the experience of trust – a confident „Declaration of Dependence“.