After installations, performances, photographs and videos the EINSTEL- LUNGSRAUM now presents drawings to the subject BREMSEN (braking). Especially eye-catching is the extremely hard contrast of those papers by Peter BouŽ, especially as the confrontation of black and white is additionally strengthened by the rough texture of the used cardboard on which the black industrial pen sticks like oil chalk but is more opaque, fast drying and abrasion-proof. Only a few drawings that were worked over with a white crayon show softer structures. There the highlights in white remind of results that are achieved by the duplex method used for black and white prints. Anyhows one notices that the plethora of colored images have weaned us of the black and white.

I wanted to explain the technique in the drawings out front because it is of great importance for the understanding of the themes. Amongst other motives the papers  depict deserted landscapes - though no wilderness -  as well as cityscapes. Some are shown from a huge distance so that neither vehicles nor biological traces are recognizable. The black and white, the hard contrasts and the rough paper swallow many details indeed but define light and shadow - the latter being applied on a large-scale  to create illuminating effects that accentuate the subjects dramatically. At the same time the determination of the proportions is impeded, to which the top view and the distanced positions of viewing contribute. What is depicted appears without atmosphere and still a mood is created. It is emotive for us - and namely by the emptiness. Aroused is a feeling of isolation and being-lost.This is congruent with the technical possiblities to take pictures without manpower in place; after all it is possible for us to receive  pictures form our neighbor as well as from our neighboring planet

without someone having to visit it. It is just this absence of corporal witnesses that give the papers by BouŽ the pretence of hostility to life, and it is the destroyed vehicles that suggest something catastrophic.

2. Transformation of energy
These stylistic devices are also applied to depict cars - another group of subjects. Here the black and white contrast between window panes, the supporting connections between auto-body and auto-roof, wheels and body parts creates the impression of fire blazing inside the car or the vicinity. It is not possible to make out what triggered the burning. But some light spots cause the assumption that it is about smoke particles caused by a detonation. Next to silhouettes of cars also parts of car bodies catch the eye which are outshined by blasting cones insofar as parts that are smaller than the coarse grain of the rough paper were visible anyhow and therefor abscond from the possibility being pictured with this technique. This detail also clarifies  that it is about transformation from matter to energy states here. It plays no role here wether the shattering force was caused by acceleration using a combustion engine, by being fired at, arson or by explosion of a bomb.

The association that comes up when looking at such landscapes and scenes touches on a subject of science-fiction: the de-materializing. It presents the complete transformation of material to energy, the trans- formation which forms the basis of the dream of border-less movement in space. Physicists say that by de-materializing of 12 tons of matter  - garbage would be sufficant - the complete need for energy for one year for all mankind could be supplied. The launch of the so far biggest particle accelerator of CERN in Geneva brings us closer to this possibility but at the same time lets us fear that this energy explosion  - like the nuclear fission and the nuclear fusion before that - could come within reach.