Josh Müller
Wir wollen kein Theater sondern Kino
Index 1 - 622

26. 11. - 16. 12. 2017
opening: Sa 25. 11. 2017 7pm
finis: Sa 16. 12. 2017 7pm


 
 



Wir wollen kein Theater sondern Kino* I Auszug aus Index 1 - 622
Deutschland. Bilder. Eine Sprache, die uns oft immer noch scheinbar daran hindert 
schwerelose Poesie zu formulieren, weil sie oft so direkt, ungeschmückt und spröde
einem den Atem stocken lässt… für viele immer noch die Sprache der Vollstrecker
bis in die Gegenwart. Dass wir ausgerechnet diesem Land und seinen Menschen den 
Begriff „Romantik“ zuschreiben, bewirkte einst Friedrich Schlegel, der im Wesentlichen den modernen Begriff dessen prägte und welcher sich in der bildenden Kunst z. B. in den Bildern eines Philipp Otto Runge manifestierte. Zunächst in eine Begrifflichkeit von Heimat mutiert und dem Zeitgeist angepasst, sich im wieder aufgebauten Nachkriegs-Deutschland als Gegenwelt präsentierend– der Nährboden für eine neue, nüchterne, spröde Sicht auf die Dinge – hin zu einer Sachlichkeit und Analytik, welche sich in den 70ern u. a. durch Künstler wie Rolf Dieter Brinkmann oder die Bechers formulierte. Die 68er Hippie-Revolution, Sattheit, Depression, Melancholie, Grau, Autos, Industrie, November, Verpuffungen an roten Ampeln, die ins Grün umspringen, dumpfer, mechanischer Lärm. Vom Nebel werden wir reich belohnt für unseren freiwilligen Tausch mit der Realität, denn wir erhalten dafür Magie in ihrer melancholischsten Form. Trotz allem ist er nichts anderes als eine auf dem Boden liegende Wolke. Natürlich müssen Deutsche sich betrinken, ist der Alkoholkonsum in der nördlichen Hemisphäre höher als anderswo. Sehnsucht generiert sich an Orten, diese werden zu imaginären Bühnen, die wir nicht betreten wollen, sondern vom Abseits aus betrachten, um nichts kaputt zu machen – den nötigen Abstand, um sich in Gedanken zu verlieren, sich in DIE Geschichte fallen lassen zu können. Eine gedankliche Aneignung dieser Bühne, auf der wir gerne etwas Flüchtiges inszenieren möchten, ganz für uns allein. Das Verfahren der Verpuffung bietet sich hier als elegante Lösung, eine informelle noch dazu, geradezu gestisch und nicht von langer Dauer, gerade so lange um kurz mit gebotenem Abstand einem Spektakel mit ausgelatschten Interpretationsmodi beizuwohnen. 
Ja, nein, all das kann deutsch?
Es riecht nach aufkeimender Revolte, nach einer gern okkupierten Metapher von zu ernst gemeinter Kritik ...aus einem Stillleben wird ein Film. 
Es klart wieder auf, das Standbild ist wieder eingeschaltet, jetzt kann man gehen, um wieder zu kommen und um erneut auf die Frage eine Antwort zu erhoffen und infolgedessen der Ort einem etwas Neues, Magisches preisgibt, was wir bisher nicht sehen oder wahrnehmen konnten. Ein neuer Film kann gedreht werden, wieder ohne Kamera.


Udo Bohnenberger



Wir wollen kein Theater sondern Kino* 
[We don’t want theatre, we want cinema] Samples from Index 1 – 622

Germany. Pictures. A language that frequently still seemingly inhibits us from formulating weightless poetry because it often so directly, unadorned and unwieldy takes one’s breath… for many still today the language of the executors. That we attribute Romanticism to this country and its people, of all things was once effected by Friedrich Schlegel, who coined its concept, which in fine arts is manifested in the pictures of Philipp Otto Runge, for instance. First mutated to a conception of home and adapted to contemporary zeitgeist, presenting itself as counter-world in rebuilt post-war Germany, the matrix for a new, sober, aloof point of view towards objectivity and analytics, which was framed in the 70s by artists like Rolf Dieter Brinkman or the Bechers. The hippie revolution of ’68, satiety, depression, melancholy, grey, cars, industry, November, deflagrations at red lights turning to green, muffled, mechanical noise. The fog abundantly rewards us for voluntarily swapping it with reality, for we receive magic in its most melancholic form. Nevertheless, it’s nothing other than a cloud lying on the ground. Of course, Germans have to get drunk, for alcohol consumption is higher in the northern hemisphere than elsewhere. Longing is generated in places; these become imaginary stages that we don’t want to enter but instead look at from aside in order not to break something, the required distance to lose oneself in thought, to let oneself drop into THE history – a conceptual appropriation of this stage, on which we would like to direct something ephemeral, only for oneself. The method of deflagration offers an elegant solution here, and also an informal one, virtually gestural and not lasting long; just long enough to briefly witness a spectacle with worn out modes of interpretation from a safe distance. 

Yes, no, German is able of all that?
It smells like germinal revolution, like a readily occupied metaphor for too serious criticism, a still life becomes a film.
It clears up again, the still is switched on again, now you can go, only to return and hope again for an answer to the question, and as a result the place reveals something new, magical that we couldn’t see or sense so far. A new film can be shot, once again without a camera.

Udo Bohnenberger
 
Translation: Jeanette Pacher

*The tiltle was given by Nicolas Jasmin 



 



















 foto: Pascal Petignat

Öffnungszeiten: Während der laufenden Ausstellung!
Sa 15 bis 21 Uhr
und nach tel. Vereinbarung!

 

Kontakt:
Marxergasse 16
A-1030 Wien
0043680 21 63 551
email: offspace@chello.at

 

Mit der freundlichen Unterstützung von:



Rudi Weidenauer - CIRCUMSTANZA
Production - Octavian Trauttmansdorff with FOX

25.06. - 22.07.2017
opening: Sa 24.06.2017 7pm
finis: Sa 22.07.2017 7pm 






„Circumstanza“ – Situations
On Rudolf Weidenauer’s work and modes of action
Everything that is, I’m gonna dump.
Everything that was goes down the urinal.
Only what has no chance of becoming will I diligently go about.

Peter Rühmkorf


“Do something with your life!” A seemingly harmless imperative sentence that demonstrates that life is no longer meaning per se but has become an adjustment variable for supposedly higher purposes. Rudi Weidenauer’s oeuvre was dedicated to questioning life commitment and searched for art forms, which would still allow him and others to live a life. The whole point of artistry is to find this specific endpoint that offers an escape from the usual debris. In this, in the calm when purpose dissolves, a pleasure can emerge that brings something to the fore that no longer serves as commitment to whatever aims that, having no better word, may be called “life”. For it will hardly be all the other nonsense (work, consumption and self-optimisation) that we are constantly told to do.
One of the strategies (if this is what you really want to name it) that Rudi Weidenauer employed was the (so-called) “Scherzl” strategy: ironic sketches and bricolages that indicated something bigger, which in most cases didn’t even exist. Here, the disruption of thoughts was the method. The often sudden end can be considered as emergency measure, for which two reasons can be named: on the one hand, most things Rudi did were an offer of talks. Once the pottering around could be given up in favour of a human encounter or collective daydreaming, it was. On the other hand, to him “works” were deeply suspicious. In his oeuvre, one thus should find a clear rejection of work(s). “People always want to make something, but so much has already been done. Now I should add to this, too?” was one of his characteristic, partly consciously paradoxically outlined thought loops. Frequently after announcing not to do anything, he would sit down and do something. A significant part of his work that would have documented how capable he was at times in being idle in a striking way is – due to certain orders of logic – no longer available. The rest however shows how fragile art is when it keeps its composition open. In some of Rudi Weidenauer’s manifestations that, for their emergence from everyday impulses, can be labelled “true-to-life”, something seems to be clear and visible, only that you can’t pin down what.

At times, Rudi Weidenauer downright suspiciously observed the reception of his work. He knew the pleasure others took in turning his actions into something they had never been, and how he always needed to be on alert to the chasm of conventionalization. At the same time, he inquisitively listened to every interpretation and was privately also pleased about misunderstandings. His unbroken readiness to start and make the next sketch was accompanied by a clear sense for what was too “big” and was threatening to become too “defined”. Once they had left the trail of determined uncertainty, the works turned back to the familiar purpose-driven linkages that thwarts life and makes it sticky. For Rudi Weidenauer, the worst kind of fly glue was the artwork itself. If he had the impression that he was sitting as an artist on an artist’s seat to make an artwork on the artist’s desk, he would crack and go jogging. To him, this was an intolerable constellation. “We’re not even going anywhere near this!”

Frank Jödicke

Translation: Jeanette Pacher
























                   
                                                                                                                                              Foto: Stefan Lux                                                                                                                                                                                                                                                     




Öffnungszeiten: 
Während der laufenden Ausstellung!
Sa 15 bis 21 Uhr
und nach tel. Vereinbarung!


Kontakt:
Marxergasse 16
A-1030 Wien
0043680 21 63 551
email: offspace@chello.at


Mit der freundlichen Unterstützung von: