|
Elke Suhr plays with
signs for borders, ambiguities.
She sees in the Daimler-drawings a common pattern of thinking, which she translates into the art area. Similar to Aby Warburg, who finds picture patterns in his picture map, which have been handed down over times as pathos formulas or to C.G.Jung, who findes the archetypes for the psyche, she sees common patterns of thinking having been burried or lost, which she wants to uncover and with which she wants to point to the existance of other worlds. Here in the above ground laboratory we see an in- stallation by Llaura SŸnner, who let Daimlers diaries inspire her stream of thoughts. She produced a three- dimensional eye-catching with regard to the subject matter realization of what he conceived in his mind. 41 silver objects pearl down on a string. Thoughts conden- se, become three-dimensional and are formed to silver objects. She gives them a valuable form through this superior processing, she silver-plates, refines, nobilizes the ideas of the inventor. ormerly silver has had the second highest rank in the hierarchy of metallurgy. But it also possesses in addition a good conductance. The artist pairs this stream of thoughts with the element of water, the existentiell, elementary prime of life: "thanta - re - everything flows". It comes from out of the earth, exchanges itself into different aggregate states and flows back to where it came from. Water has no definite shape, is shape-less, but it shapes, similar to a stream the thoughts flow back and forth continuously, some thoughts arrive, drops are to be heard, the thoughts hit, they step into the outer world. Some thought though becomes a wild idea, does not stay within the stream line, but conducts jumps, strays, does not stay on the path, does not reach its aim. Sometimes there are several paths and solutions. "When I am like so often completly on my own and in a cheerful mood - on a journey in a coach, after a good |
meal or in the night
when I
cannot sleep - then ideas
flow best and in abundance." W.A.Mozart wrote in a letter about the stream of ideas that three circum- stances encourage intuition: drives over the land, lonesome walks and being in bed. In a sphere between dream and wake, which meets her intuitive approach Irmgard Gottschlich also finds the creative moment. The artist presents here a threepart thryptich-like installation, on which a fantasy-full picture story unfolds. It consists of hanging guest beds, which sheets are created in two colors only: two objects in different blue shades, one in signal red drawn with crayons in grissaile-like mode. The color blue not only stands for the dreamworld of the night but also for the spirituel space and transcendency and further for the element of the air and imagination, so does the signal red stand for the fire, the carnal, and the liveliness, amongst other. Hat does this place mean for the artist? The bedframe, a guest bed on wheels, mutates here from the bearer of a sign to an object. It becomes the representative for expression of life and bears in itself several levels of meaning. Here she spreads out the whole life - transfixed onto the sheets - between birth, eros and thanatos in all its facets. For Irmgard Gottschlich the bed is some kind of island, not only as in "Schulmeister Wuz" (schoolmasterling wuz) it was the last refuge for Jean Peaul, but the place of imagination, ideas, dreams. For her the guest bed on wheels points also to the fact that she is not bound to a place, always in moving and on the way. Her technical medium is the drawing as most direct form of translation of her ideas. Like with the Žcriture automatique it transports here flow of narrating and meets the pictorial drewn picture storries. Timeless and without hierarchical alignment on the picture the figures move in the space. What kind of bed storries are these? A blended world of humans, animals, plants and technic appear - in the shape of Daimler-motor-skeches. It is in some kind of |
| next back home |