EINSTELLUNGSRAUM e. V. Peter BouŽ, BLOCK, Neue Arbeiten

people. Whilst the horse was sanctioned with some tribes as a grave good the car, its production and destruction is continuously part of religious and pseudo religious acts nowadays.This statement would be my question at the same time what the picture of a horse inbetween the named items in the pictures is doing in this exhibition.

Because of these reasons it should actually be proscribed - well even impious - to depict a car wreck. But its image is needed to compensate for a higher judged tabu - that is the imaging of victims of accidents and assaults. Whilst the reproduction in the media of real frazzled people is out-of-question the image of destroyed vehicles is certainly allowed to be broadcasted in the media. That is why the car also fulfills a symbolic function here because it serves the public display of disasters cleaned off corpses.

Crucial for the consistent visual attractivity of the car as image subject is seemingly its character of fetichism that can be filled widely as well as its character of cult both offering a screen for religious impulses in a seemingly profane society. After all the car is a second skin that is meant to be demy- stified to keep apart convenience and function of fetichism. In English we speak about the 'auto-body' and work on it is done in a body-shop. In Germany as well this term is used by a cosmetics company - so here we have a hint already on the analogy of auto-body and skin. Individual design not only of cars is termed 'custom-made' or 'customized'. These terms, too, are deviated from namely custom clothes, made individually by specialized workers like tailors. Both connections demonstrate the cloth relation between the individual, his body covering and the public profiling. Eventually the derivation of the word from French - it deviates from 'costume', a man's suit or national dress - offers another layer of meaning. The English meaning of the foreign word 'customs' offers a connection between the procedures of border crossings and checking of clothing. In this way the passage of a border control is interlaced with clothing befitting one's rank or a national dress what makes clothing to be a personal attribute with the function of identification. This identity giving meaning - still authoritative today for access controls in clubs and restaurants - can be conferred to the car as a second skin or covering because of the mentioned reasons, that is why it is constitutive for the here established correlation.

people. Whilst the horse was sanctioned with some tribes as a grave good the car, its production and destruction is continuously part of religious and pseudo religious acts nowadays.This statement would be my question at the same time what the picture of a horse inbetween the named items in the pictures is doing in this exhibition. Because of these reasons it should actually be proscribed - well even impious - to depict a car wreck. But its image is needed to compensate for a higher judged tabu - that is the imaging of victims of accidents and assaults. Whilst the reproduction in the media of real frazzled people is out-of-question the image of destroyed vehicles is certainly allowed to be broadcasted in the media. That is why the car also fulfills a symbolic function here because it serves the public display of disasters cleaned off corpses. Crucial for the consistent visual attractivity of the car as image subject is seemingly its character of fetichism that can be filled widely as well as its character of cult both offering a screen for religious impulses in a seemingly profane society. After all the car is a second skin that is meant to be demy- stified to keep apart convenience and function of fetichism. In English we speak about the 'auto-body' and work on it is done in a body-shop. In Germany as well this term is used by a cosmetics company - so here we have a hint already on the analogy of auto-body and skin. Individual design not only of cars is termed 'custom-made' or 'customized'. These terms, too, are deviated from namely custom clothes, made individually by specialized workers like tailors. Both connections demonstrate the cloth relation between the individual, his body covering and the public profiling. Eventually the derivation of the word from French - it deviates from 'costume', a man's suit or national dress - offers another layer of meaning. The English meaning of the foreign word 'customs' offers a connection between the procedures of border crossings and checking of clothing. In this way the passage of a border control is interlaced with clothing befitting one's rank or a national dress what makes clothing to be a personal attribute with the function of identification. This identity giving meaning - still authoritative today for access controls in clubs and restaurants - can be conferred to the car as a second skin or covering because of the mentioned reasons, that is why it is constitutive for the here established correlation.	5. Mobile against mobility When vehicles get wrecked it hits their owners, too. More precisely: they are skinned. Whilst their portraits behind the windows were identified with their cars those are also crushed with the demolition of the vehicle, at least for a time - even when the owners escaped with their lives. Paradoxically in certain cases such cars can be regarded as image bearer of their owners even though this identification is basically a special case thus an illusion, anyhow the passengers are principally exchangeable that is why the car as a media of transport is also a media of image bearer which like other media as well depicts various contents. The absence of people in Boue's drawings implies this circumstance of anonymous making destruction of personal identity. The same complies with the fate of drawings that are repelled as one-of-a-kinds in times of mediatization. Having been in an accident and in wrecks the car looses any representative function but still just as a relic of an accident it bares yet again its symbolic function when it stands as wreck for horror. When this image then finds distribution all over the world as a memorial and symbol of the respective disaster then just because of its universality it stays arbitrary and interchangeable as it has no face. The places of the felonies and cata- strophes are like their respective causes hard to distinguish because of the superficiality of banal wreckage. With this it becomes clear why the destruction of a car is no sacrilege and why the history of the car bomb is directly connected with the history of the suicide attack and its contemptibleness of life. The suicide attack uses the anonymity of the car as universal means of large quantities of mobility. This is why the attacker stays incognito even if the rest of the vehicle is placed in the media as a monument and attacker and victim loose more than their skin. Because of this a tattered car wreck in its universality can be seen as a general attack against he unbroken mobility and the with this associated repression of people under the regime of machines. Peter Boue makes this aspect of urbanity visible and there I see the actuality of his drawings. Seen as a science-fiction scenario everybody is already a victim, but cameras are not installed in every place alone as long as someone registers the explosions be it as an officer in the control room at the interior ministry or a drawing artist in his studio.
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Supported by the cultural department of Freie und Hansestadt Hamburg and district office Wandsbek
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