In the Villa Merkel a role was taken at times: the memorization of the words of Schiller’s Rauberhauptmann has left marks. Helpful was the lush graphic collection of the house. The object on top was created after Dieter Roth’s Selbsthebetraum. How much more does the self raised in the dream weigh more than that which is elevated in the dreams of others? The role of the real Raeuberhauptmann was geographically (Schiller the Swabian) and professionally close. The embodiment of authentic life was found in the sausage sold per meter offered by the robber’s offspring, as in the graphics found in the collection. The offer to share experiences is always generous. Nothing less than the whole body is appreciated to be thrown into the day! The robber a voice! The dieter rot a dumpling machine! And for a soft identity concept: in the form of the rejected! In the form of the body that does not forget. But pass.
The salvation of each contact is described in relation to a detail from Tolstoy’s Death of Ivan Illichich. The protagonist of the story suffers from the dishonesty and lovelessness of his estranged surroundings. He finds comforting and painless hours when he lets his servant come, and then elevates his two legs on the shoulders of the simple farmer (sic). Pasolini takes over this detail in his film Teorema. There, it is a mysterious guest who throws the members of a supplied industrialist family completely off course: not only by his immediate naturalness (as Pasolini emphasizes), but also by actual touch. How attractive are the promises of the works of art, if not the artists? I consider occasions to provide my shoulders.