A person standing without enough money to buy a fencing apparatus

Result #1

A person standing without enough money to buy a fencing apparatus by the gallon looks more human than human at the moment. Such seemingly unbridgeable intellectual and physical barriers serve to define, in contemporary culture, the contemporary cultural myth. The symbolism of this latter-day Adam and Eve is perhaps best captured by the illustrations of K. G. Falckenbein and Lars von Triers pastoral landscapes, wherein the moral center is a forest of trees, for the whole world is a land of innocence. Yet the message of the landscape does not end there. The forest is a tree, and the forest is the tree. The forest is the tree, the forest is the tree, the forest is the tree. It is in the midst of all this that K. G. Falckenbein begins to make explicit the dichotomy between the natural world and the urban environment. In the artistic manifestation of this duality, nature is ever present, yet nature is ever hidden and equivocal: we see nothing of it but the passing shadow of trees. In this way, Falckenbaum develops the very idea of a representation of nature, in a nonrepresentational art, of nature. With this approach, nature is freed from the restrictions of the art object and can spring into the image of the visible. This idea was also a major preoccupation of the later German philosopher, playwright, and collector of works by the Ernst Spelling–trained artist Jürgen Hochsmann.In the small gallery adjoining the museum, Falckenbaum presents work that approximates the six-channel video installations he used in his work with Hochsmann in the 80s. The work consists of six-channel video projections on wood supports that have been coated in latex paint, producing a type of transparency. These pieces are intended as flexible rubber casts, modeled after pieces used for reliefs, but in addition to the perspective effect that they have, they have an effect reminiscent of insects caught in flight.

Result #2

A person standing without enough money to buy a fencing apparatus sits on the fence in front of a building; another sits on a rickety wooden platform. The front window of a house near the pool is boarded up, and the windows of the buildings with the wood-framed windows are barred from the outside. The house has been foreclosed, and the last remains of the house behind the fence are available to visitors. In one of the shots, we see the log of the fence behind the house with a shotgun in it. The fence itself is an apartment building.The video is a narrative in itself: At the beginning of the film, the camera cuts to the second floor of the apartment building, which is boarded up. The house behind the fence is boarded up. The camera then moves up the stairs and into the apartment. The camera slowly moves from the stairwell into the apartment, to the desk, to the living room, and finally into the bedroom. After some time, the camera finally returns to the kitchen and living room. The camera then returns to the living room and falls into a deep sleep. After a few more seconds, the camera wakes up and climbs out of the bed. The camera moves from the kitchen to the bedroom and the living room, until the house is completely covered with snow, which seems to be snowing in the sky.The reason for the film's dramatic and ominous nature is that an intruder enters the apartment, breaks into the house, and attempts to enter the apartment; only a screen made from woven wire allows the viewer to see the window on the second floor of the apartment. After the screen, the camera lands in the living room. The second floor of the apartment has been snowed in, and the film shows a man standing on the bed, still asleep. He picks up the camera and is moving toward the camera, and slowly but surely he turns into a living man—a man with a camera that clearly shows a woman lying on the bed.

Result #3

might drop down from the roof and jump in to help, which would mean he or she must have some kind of physical support—or, at any rate, that he or she is an animal. In this case, the rabbit is a creature, but one whose whole existence is a kind of dance with death. Its an animal whose purpose is to fulfill its own purpose: to be able to help others escape from themselves. And that is why the rabbit is a beast: not an animal to assist in his or her own survival, but an animal to live to help others escape themselves.Paul Brundage is a poet based in Cologne.

Result #4

A person standing without enough money to buy a fencing apparatus. This line seems to run counter to the essence of the work, at once repellent and delicious. A similar device was employed in the installation of Deutsch, a celebration of the German language. The translation of text into sound was the spirit here. A film projected on a wall above the main room of the gallery included German words spoken in German, in English, in and out German, words that conveyed the complexity of German history. In the center of the room sat a silent film of a giant bear stalking on a prey plane. Two water bottles were filled with a misty misty liquid, a kind of secret soup. The liquid was shot with a gun, and it poured out of the container like a mirage. Layers of filters covered the ceiling of a corner above a handprint imprint. The result was a certain ambiguities that expressed the difficulty of understanding, of realizing, and communicating German history.There were several times when a sentence or a word seemed to contradict itself. A tree branch is bent on a branch, while a question is asked of it. In all these cases, the sentence or the word was impossible to translate into other languages. An artist who wants to represent something in a different way must resort to a translation that counters or even misunderstands the meaning. The point here is to bring to the surface of the basic structure of language, which is determined by the means of language, the meaning which it has already achieved. German is not the first language. This is not a culture of signifying—or of communicating—but rather of material, of signifying with the most complex of means. These texts are written with an iron rod, which is used to produce a kind of sign language. In the end, the art itself would have to be nonverbal. The art is ultimately pictorial, tactile, and, above all, emotionally alive.

Result #5

A person standing without enough money to buy a fencing apparatus that can be used to protect a parking garage in his home town of Chicago might hesitate to buy one. Despite the possibility of its mounting cost, the man then begins his job as a vaulting vaultmaster. He pays himself to prepare his vault, but it isnt until he arranges his financial transactions that he even has the courage to take out a loan.The vault offers a new, meaningful sense of security for an average citizen. One sees it all the time, from closed doors in an office to the security systems in an airport. In the United States, in much of the world, Americans do not own the technology that produces or protects them; we are forbidden to own such machines. The vault enables the new American citizen to escape the responsibility of owning and owning up to the inherent insecurity of his or her own equipment.In this show, two identical Vaults were set up in a locked room within a room that consisted of an original vault, and a book whose title was The Great Learning. The vaulted enclosure, which was covered in a transparent fabric, looks like a lockbox or a box. A small circuit board inside the vault allowed the reader access to a hidden supply of tools. The book contains no materials but an index of learned terms, and is divided into sections on the relationship between humanity and nature, security, and punishment.These are the ideas of a psychoanalyst, a former ideal who investigates the psychological aspects of modern life. They also reveal how the psychology of modernity has been influenced by the psychology of technology. He examines the tension between human psychology and modern technology, between the human and the machine. He discovers a type of hostility, a hatred that is bound up with a hatred for modernity. In one section he writes, we are working in the industrial age. If there werent the machine, then you know what would happen, and its nothing but good news. One wonders what he could have done differently.