Five years after the return, a further valid confession whereby let me strangers take me with me the readers may take in a sense of not feeling too much furnished. The Kasperlige neon writing a Kalauer, after all, it had once been called in the same place: what glitters has no own light … The place of exile, which is language that is scripture, will probably also derive from the material in which every symbolic formulation manifests itself. Or.: A poem! In the style of an ancestor. Reading Aimè Cèsaire’s “Back to the Land of Birth” should be the starting point for an installation appropriate to the occasion and location. The return is above all finding a new self confident language. In this sense, a selfimage as a “contemporary Viennese sculptor” should be euphorically celebrated. In addition, it seemed inevitable that the balance sheets to historical and local sizes to visualize. Whereby adaptation to and integration into local hegemonies may be resisted. On the occasion of one of the sceneseeking exhibitions, it seemed more than appropriate to consult a misplaced formulation of a possible country of birth.
Aimé Césaire’s text is regarded as the founding moment of a selfconfident movement emancipated by the colonizers. His way of reinventing the use of the French language contributed to a free writing. The land of birth was a kind of hybrid construct whose actual and not merely sentimental connections to something originally native, should not be denied.
The soil works for everyone. But before I land at the future gardens, give me the rigidity of a proud dugout and its flowing power. Give me the cheers of a new message! Cradle and silence the child, oh my word, the child that does not know that the card of spring has to be constantly redrawn. (Aimé Cèsaire.)