| leads
perception astray and presents the
engrained habits of seeing. The classical drawing as well as the scanner and the lamination machine are used here. The tulip picture and the wind-up paradise-like smiling buddha on the right hand side of the wall are not at all photographs or collage works, but a further radicalization of her way of working by placing the items directly on the scanner and photocopying. She achives unbelievable effects with that, effects that make the magic of the items visible, they start to appear more real as reality. Everything appears even more striking. What from a distance appears picturesque like a painting of an old master with graduation, hidden colorfullness, highlights and appearan- ce of depth proves to be a play with quotations of tech- nics and genres when seen close up. But now to the subject 'paradise'. Seen ethymologically it is the old testament name for the Garden Eden (hebrew: delight), in Greek paradeisos means 'fenced in land', 'enclosed park', 'zoological garden'. Where is the connection between car and paradise? What or where is the car paradise and the paradise car? What makes the car so paradise-like for the small escapes, the trance on wheels, is it becoming an enclosed dream space, projection field of human longings, hopes and wishes? What predestinates the vehicle to a drug on wheels? The association of the car with eroticism and libido is proclaimed by the driver. And what not all does happen in the car: not only is it driven, it is loved, conceived, lived, quarreled , fought, born and died in it. The car as a daily object bundles all society sensi- bilities, mirrors the condition of a society. In the essay by Roland Barthes "Der neue Citroen - (D.S. 19)" the car became the DŽesse, was declared the godess, mytho- logizing of the car came to completion. Technic and myth melted to a new unity. The car as a whole a meta- |
phorical
body. The DŽesse was the the promise of
happiness heaving become a car for the driver. Heaven on earth, a
superlative. 'The DŽesse',
Roland Barthes wrote, 'has all
characteristic features of an object which come down from another
world; the DŽsse is first of all a new Nautilus.....
believe, that the car today is the exact equivalent for the great
gothic cathedrals. What I mean by that: a big creation of the epoche,
which has been thought of with passion by unknown artists and which in
its picture if not anyhow in usage is used by a whole population
that equips and makes it its own magical object with it."
As is know those were seen as the heavenly Jerusalem on earth. Erwin
Panofsky derives
the shape of the rolls royse radiotor fin from the classical Greek
fassade of the temple.
What is the paradise: a place, a condition? An utopia? In almost all myths and storries of the peoples there is such a paradise-like basic pattern in the beginning of the history of human kind, which says that originally there was a good life. We are conditioned by the biblical ima- gination of paradise of an enclosed garden with Adam and Eva, the tree of knowledge and the tree of life, rivers, plants and animals all of which lives in harmony. Deficiency and privation establish the basis for the essential longing for paradise. The missing can only be filled through imagination. In the face of life's reality which may also include sickness, drudgery, suffering and death, the longing, the dream of happiness can become unbelievably existentiel and is also the phantasy motor for the creativity of the arts. The dream of Golden Age, the paradise as understood nowadays is a profanized promise of happiness. Salvation of sickness and immortality is hoped for through natural science and technic. This progress shall bring about the turn-around in the material and spiritual conditions of life of the people and lead to prosperity and immortality - a paradise-like future. If we understand paradise as individual metaphor for happiness, then probably no |
| next back home |