Review | ...

Generated on 2023-10-09 05:50:46

Result #1

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Result #2

Archaeological excavations in the West are becoming more common, as evidenced in the recent case of Franz Göringsen, which reveals that the number of excavations undertaken by archaeologists in the past decade is now on the increase. Though these are obviously done in order to document the past, they often damage archaeological monuments and interfere with the ability of the people who witnessed their discoveries to understand the past. Göringsen exhibits the results of a massive excavation in the GDR, a state that has always been known for its poor preservation of ancient monuments. In order to preserve the monument, the GDR has demolished thousands of the old statues, imposing a gigantic wooden statue of the national symbol of Germany (the Kaiser) at the center of its country—a project that has been criticized in recent years. Now, the GDR is excavating another section of the past, only this time in the form of a memorial to the German past.Today, Göringsen is an object of national pride and veneration in the West, a monument to the cultural achievements of the people who built the Reich. He is an icon of German heritage, a German living history. He is a symbol of German socialism, the social order that united the country. All that is left of the German past is the small remains of monuments, and Göringsens gravelly, almost distant voice, which is the only sound in the world.His gravelly, almost distant voice is a reminder that life is based on fear, in fear that the unknown might be dangerous. It is a reminder that the past is a fragile structure, that the past is not without its dangers. As a result, we are all more vulnerable than ever before, every hour, every moment of every day we are making the impossible choice between the unknown and the present, between death and life.

Result #3

approach, or locate, a state of surroundings, it is the esthetic situation of the heart, it is the most accessible place, that is just to the side, that has the most to offer. How can it be otherwise than for us to enjoy art that we are in and at home with? In the West, this is the most obvious thing. Just as at home with a ship as with a house, or a film as with a canvas, or even better, with the postcard as with the photo.So we have to go back to the time of the Abstract Expressionists, to a time when the heart was not the sole object of a esthetic situation, and when the esthetic situation was as remote from home as possible. Nowadays, the esthetic situation is more like a film set, not an interior but a film set. The viewer is as in with film, an actor in a staged drama, a part in the ongoing project. It is a set in which one can go on being shocked at what one is seeing, which is why film sets make great déco-table. (Film sets are rarely used for the production of an actual film.) Then of course there is the esthetic situation, for as it is its own object, the esthetic situation has a distinctly private character and so must only be visible to a specialized group of people. For the rest of the world it is like any other set. By this token, these pictures are all very personal. They are mystifications of the most exquisite esthetic experience. This experience is strange indeed, for it is a state that the ideal viewer cannot experience. For him, the esthetic situation must exist for him only as a facade, a pretense that can be used to get the job done. These pictures make the esthetic situation as inaccessible as possible, to which the esthetic situation cannot belong.

Result #4

interxie i intruders, a dance, a game, an ersatz factory floor of plastic pellets. A cast of characters that straddle the line between celebrity, pop, and machine—a kind of weirdly gross mix—the characters are something of a cross between late 80s and early 90s talk show hosts, John Heys and Bob Ross, respectively, with the result that the power of the random, like the power of the random, to generate an ersatz factory floor of plastic, becomes a matter of specificity and confirmation, perhaps the most intriguing aspect of this new, anonymous subject matter. Deutchian is a German word that has the same meaning as the word angel, and so evokes the great mystery of the idolatry of the idols of the Germanic church, which is the terrifying influence of the devil on the lives of people of the Germanic nation. No longer can the body be taken as an object of religious faith. In this film, however, the figure is the sum of its parts. The parts are moving and moving, like real life. To the uninitiated, the whole looks like an assembly of fake figures. But to those who know what happens when randomness is confronted with reality, the random is a powerful and realistic force. The random figure appears as a familiar emblem, a representation of the personal, a symbol of the, as the author of reality. The random figure does not pretend to be real; the random person does not portray his or her own face. The random person is one who has no face—one who never produces the appearance of his or her own image. The random act of life is as natural as breathing. The random figure is one who does not produce a face, and so is a person who does not produce any figure. The random act of life is a person who is simply, freely and without limitation, in the midst of the random world of appearances.

Result #5

(wherefore) , the term literally means to predetermine; it is also applied to an artist who has chosen a style or art movement, and who, in contrast to traditional sculptors, has no choice in the matter. In the case of Brecht, like von Schlegell, it is the artist who prevails over the trend. The four artists in this show were constituted by a series of plazas constructed in the form of circular expanses. The first of these plazas, from the seventeenth century, carried an engraved label that could be read as a locus for the whole work, in the same way as a book. The second ones, from the twenty-first century, which utilize photographic reproductions, are placed on a variety of shelves. Four series from the twenty-first century are on display in a separate room. The four plazas come in a different varieties: from the maximalist to the control-oriented; from the experimental to the professional; and from the abstract to the natural. The control over the circulation of material, for example, is evident in all the works. The success or failure of an idea or of a situation can be determined by its distribution. These same ideas are then stored and returned to the artists hands, and the results are then to be projected in a new world.In this exhibition, Brechts intervention revealed a single way to compose a world without violating its original structure, the compass. His work is predicated on a continuous process of search and discovery, which are formulated in a geometrical format. The entire style of the present era has been revealed in these divisions, but all the works are conceived in terms of the spatial reality of the material world. For example, the four images that represent the shape of a house, composed of three separate elements, one of which is a circular construct, are not only spatial but also temporal elements.