Images, places, spaces, and situations are WORKING on the VOICES they awaken; Working on the distance of words from all that that is not only amazing. Designations can not be separated from their EVOCATIONS. The life of the characters likes to express itself through small displacements. Like the sound, the sign, the word, the speech, the action.
Text on images: Cesare Pavese: Dialoghi con Leucò, Torino, 1953. In: Conversations with Leuko, translated into German by Catharina Gelpke, Hamburg, 1958. The dialogue is quoted: The Mystery (Dionysos and Demeter speak)
Die Insel (ex Der Verrat) (The Island (ex The Treason) (here Catalogue) / 2004,2015 / wood, mesh, papermaché, varnish / 392 x 190 x 50 cm /
So why not make the city, the scene, the local milieu a makeshift setting? Accept a destination (that is, destination) where there is no common movement or destination context? Inevitably, this strategic engagement raises the question of what makes a specific (artcity) context, even nominally claimed, special and worth highlighting in comparison to other cities. Are these qualities that arise from the scene conglomerate or the operation itself and thus generate an exuberant, uncontrolled liveliness? Is not this vitality justified by the fact that it constantly pushes itself outward? In other words, is not there a break out of the makeshift art city framework, something that can not be locally (whether through material, institutional or other milieuspecific demarcations) by any means einhegbar? This would be emphasized by the stressed, curatorial “polyphony”, even the centrifugal vehemence of the practices represented in Destination Wien: the many heterogeneous, partly incompatible voices, which in principle resist any orchestration, but still need a performance venue to prove it. (Christian Höller)