Transformations, translations and shifts are considered to be central practices in the society’s gearing. The appropriation of finds and legacies can only be surpassed by their invention / construction. It is important to deal with the fathers and the mothers. Clinch was the name of the place in the installation (positions were named, not works), where it has been suggested that inheritances are often misunderstood as missions. The Pietá (after Kokoschka *, not Picasso) was used as kariatyde to support the builtin roof funnel. The stifled murmur of the library visitors on the top floor was supposedly collected in the ear of the supporting figure, down in the atrium. The abdomen of the figure replaces a small carousel.
Position 1 / 2004 / wood, wire, papermaché, emulsion paint / 92 x 190 x 101 cm / Show: Manifesta 5, Europen Biennial of Contemporary Art / 11.06. 30.09.2004 / Donostia (San Sebastian)
The installation is the built representation of some considerations on the conditions of a production of art / life form today. The installation is located in the basement (atrium) of a library. The work was produced during a longer stay on site. The space was separated from the view of the library visitors by a makeshift ceiling. The tension between intimacy and generalization was sought. Ultimately, the stubborn insistence of a recognizable “style” was emphasized, which could only hint at disturbances caused by local peculiarities (international).
Ivan der Schreckliche und sein Sohn 16.11.1581 (nach Repin 1885) (Ivan the Terrible and his Son 16.11.1581 (after Repin 1885)) / 2006 / graphite on paper / 120 x 154 cm / Show: entdeckung machen, entdeckung sein? (Making a discovery, Being a discovery?) / 12.05. – 25.09.2006 / Engholm Engelhorn Galerie, Vienna
The exhibition took place in the Basque Country. The conflicting moment between the cultural techniques, ways of life and languages is manifest and actual. A longer onsite presence during which the installation was produced should create a sense of local “style.” In the Basque Country, male sheep are encouraged to stamp their skulls. If one lets them pause for a while and then refrains from fitting them with horns, since they are scarce, there is nothing left of the original harshness of the momentous event. Rather, it seems to be a graceful dance movement, in which the partners, held by gentle pressure skillfully in the balance. Whether a new show is served by this other kind of grace and power, that will be clarified. The horizontal hardness was replaced by a vertical lightness. Sculpture takes place at the relocations of the ACHSEN! This can lead to the formation of signs of renewed life.
Pas de Basque / 2004 / wood, wire, papermaché, varnish / 75 x 235 x 37 cm / Show: Manifesta 5, Europen Biennial of Contemporary Art / 11.06. 30.09.2004 / Donostia (San Sebastian)
Itsaso another name for the sea. Here are three examples of the attempted naming of the positions / positions that were to be filled according to their naming with nameless works: 1 clinch: is finally the place to remember the beginning. 4 may be an initial after the 0 has been ignored (such as 10 = 4). the true beginning took place when the inheritance was misunderstood as a mission, and the individual manifestations were misunderstood as expressing themselves and not merely filling a given place.
itsaso (Das Meer) (The Sea) / 2004 / photography, light box / 36 x 54 x 16 cm / Show: Manifesta 5, Europen Biennial of Contemporary Art / 11.06. 30.09.2004 / Donostia (San Sebastian)
2 lapse: the place of nostalgic yearning for an imaginary unity and permanence of a singular position that would permanently remind you even being the inventor and domesticator of the wilderness that surrounded you. where the overcoming was as much as the promotion of all the forces of attraction in your hands and the revival of things actually took place. where the brutality of the coherence has been tempered and your restless wandering about was called “open to encounters”. work meant there free activity. from there you would be able to imagine no.3, but you would also be pushed back in the direction of no.1, with a brief interruption: 0 style ?: the place of power of generalization, once the place of decision. 3 delicate (living): the place even of another arrangements of the rules of the built world.
sorry, there is no secret / 2004 / various materials / various sizes/ Show: Manifesta 5, Europen Biennial of Contemporary Art / 11.06. 30.09.2004 / Donostia (San Sebastian)
„sorry, there is no secret.“
# making the rules of the organization of the built world can be reduced to some basic movements. This reduction is to carefully think and imagine these movements, by repeating them as common figures. The common figure demands the declaration of fixed positions in the making of the rules, including their magic operation of the legitimation of themselves.
The making of art (the artist) follows the same operations. The installation is one more result of a declaration of constitutive places forming a social reality, that are filled up with actual work. These fillers are suggestions determined by an exhaustive search after the specifity and offers of the actual context (3 weeks in Donostia), and the expectations produced by the actual event (Manifesta).
therefore the works shown have no title. The places they fill can be identified:
4 – the rest: the place where everything possible was still possible.
5 – the hedge: the place of the discomfort with the angebliche necessity of the actual. The discomfort produces all the manifestations ot the well-known strategies that produce and at the same time deny the fact that what they promise is identical with what they are.
If not so then further:
6 – :the place to listen to the really magic moment, the fulfilled desire and no more need for trost.
As the mobility of the 4-5-6 seems hard to grasp there is another try, better described in the other direction (3-2-1):
3 – delicate (alive): the place of even an other arrangement of the laws of the built world.
2 – lapse: the place of the nostalghia for an imaginary unity and permanence of a singular position, which would constantly remind you of having been yourself the inventor and domesticator of the wilderness that surrounded you. Where the ueberwindung as much as the foerderung of all the forces of anziehung seemed to be in hands of your own and die wiederbelebung der dinge tatsaechlich stattfand. Where the brutality of the coherence was softened and the ruhelose herumirren was called being open for begegnungen. work was called freie taetigkeit. From there you could imagine place number 3, but also you where forced back towards the 1, with a short interruption:
0 – style?: the place of the force of verallgemeinerung, once the place of the decision.
1 – clinch: finally is the place to remember the beginning. 4 can be a beginning after ignoring the 0 (which is like 1-0=4). The true beginning was when the heritage was misunderstood as a mission, and the single appearances where misunderstood as expressing themselves and not filling a given place. (which actually brings you back to the snow on the beach.)
misha stroj, donostia 06.06.2004