‘Fuellhorn’, 2007 and ‘Calypso’, 2008. Two installations for Jerxheim Bahnhof re-visited by Dagmar I. Glausnitzer-Smith
Installation view of Fuellhorn, 2007
The pre-requisite for the two installations ’Fuellhorn 2007’ and ‘Calypso 2008’ is the memory image of the mountain in my room. In my childhood-memory-room, the mountain consisted of all objects, which I owned at the time, neatly heaped-up and amazingly stacked. I had to find a view of the whole, in order to get to any single item in the mountain. I was meant to organize the objects and make them disappear into boxes, cupboards and shelves. But really, I was more interested in the overall arrangement. I needed to see each corner of my created world in the mountain. I needed to see each object, so I could relate it to an action of placement and movement.
Detail of Fuellhorn, 2007
The consequence today irrevocably reminds me of this urge to invent methods of re-organization, to disobey the virtues of ‘order’ and embrace the ‘presentation’ of multiplicity and complexity. Actually ‘making order’ in those days was punishment and meant disapproval of my reality.
Installation view of Calypso, 2008
The mind feels the world, which means the world in the mind is symbol. The mind reinvents the world through the senses. The images and the feelings of the world are not static. Thus the mind is simultaneously active and contemplative between creating and recreating images from all past perceptions and experiences; and it remembers different emotional states. Memory (German. noun die Erinnerungskraft) is the ability and the power to reflect upon impressions of past experiences in a particular moment of the present. It is the purpose of conscious thought and intelligible activity to create reason and meaning: placed, re-placed, un-placed. It seems the mind feels the responsibility to influence and sustain a coherence of thought processes. But the feeling of the mind is another, (German. noun das Geistgefühl), it supports a sense of certainty before it is reflected for what can be known but it also assures the desire to know of uncertainty, for what is not yet known or is altogether unknowable has its place to be.
Detail of Calypso, 2008
The nature of objects and their materials as a whole, contain the dynamics of the past- when their parts were raw and their order unknown – and its future, which may only be commentary. However a picture of objects can be imagined and archived even if in the action of placement, reason is absent and meaning is uncertain.
The departure point may be the gathering of familiar objects as a temporary store where the transition between departure and arrival merge when the objects are manipulated or transported or placed into another context. Sometimes preparation takes a long time containing many arbitrary moves but then the moment occurs where the material significance of the objects transform into a different situation. I can be aware of an uncertain whole[.]
This text was contributed to ARTLURKER by Dagmar I. Glausnitzer-Smith.
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