| View with emphasis on roaming garbage Johannes L. Schroeder to Antje Bromma: Bremsen und Fliegen (To brake and to fly) This weekend 'flying' and 'braking' is on
the program of the EINSTELLUNGSRAUM. From the news last week of the
crash of a Spanair flight it became obvious what it means when there is
braking during a flight. It is assumed that thrust-reversing is the
cause of the accident, which with this flight had been triggered not as
usual for braking after landing but during starting. This is not
possible engineers assure. But what if something happens contrary to
all reasoning? So brace yourself for something when tomorrow our
two-day long performance-sequel 'Schubumkehr' (thrust-reversing) is going to start.
Today we stick with
'flying' and 'braking'; and the question remains into which
dimension should we allocate each movement.
1. Views with gravity Take-off (French:
decollage) starts for Bromma with her daily bike rides as she writes in
her statement for the exhibition. When she is on the go and her eyes
catch an item she brakes to look at the find. After that she either
picks it up and takes it or she leaves it where it is and keeps it in
her eyes. She remembers its position and when riding past the next time
she checks if it is still there or if it has changed. Thus also the
objects that stay at the roadside become part of her project.
I have to interrupt
myself here; because it is a strange metaphor* when the view is
described as if it has weight. Anyhows it is like that when one speaks
of
glancing at something. One imagines the view is pulled from an object
and then falls onto it. Reversed an object can fall into one's eyes -
catches someone's eye. This metaphor lets the object take off its spot
and lets it into the brain via the eye where it is stored - if we stick
with this image. A collection emerges thus first metaphorically and
conceptually and
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becomes existent as work
by Bromma on her ways through
the city or through the physical collection in her studio.
The viewing is required for collecting and a pre-image of
imaginative recordings in the brain which in the 19th century was still
regarded as a warehouse for matter. Language has kept this relict.
2. Earthly and cosmic processes Our imagination obviously still works in this modus of gravity. When we look up we experience these uncountable objects als floating or flying parts even though they do not move at all. This is probably thanks to the fact that we have learnt to comprehend everything that is above us as something grand. Above us the canopy stretched with fixed stars and planets bevor we learnt to perceive the universe as an infinite or finite cosmic space. The mosaics of the Late Classic Period and the frescoes of the Middle Ages, the Renaissance and the Baroque reinforced this practice whilst we had to tilt our head from the usually common horizontal axis of viewing to the vertical to be able to perceive this pictures. This is an exercise that the powerful and those concerned about salvation like to make use of. The precondition of their approach is probably that the bend of the cervical vertebrae triggers dizziness that lets us feel physical the power or enables entrance to a spiritual experience. An encouragement for floating it is or also a trance induction with which one rids oneself of gravity to travel trough the vastness of cosmos and soul. Within this outlined context there is also the to-be-chosen dimension already mentioned by me. We have to realize this in order to gauge the perception with which we approach an installation like this one. Of course parts of it move in the space. They get older, change color and shape. Rarely are they durable; because synthetics loose shape and color over time and dissolve, alter their condition. Soft objects may become brittle or hard objects may become cracked or gooey. Only because these deformations occur so slowly do we not notice them. Often we are not even conscious about them occurring at all. |
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*to
glance at something can be expressed (amongst other ways of
saying it) in German with 'den Blick auf etwas werfen' - which
literally translates 'to throw one's view onto something'.
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