EINSTELLUNGSRAUM e.V. Akane Kimbara.html

Has a sensually given - mainly by chance -, about which Akane herself only could give information, lead here to a sign-like consciousness connection which shows itself here in the oval - on the path to self-knowledge in contact with western culture, for example the ancient demand of gnoti sau ton or the martyr figure of Saint Dionysos of Paris who in middle-ages images carries his bleeding head under his arm?
Speculation or possible starting point to look at it?

Beyond the strategies of "Deterriotalisierung und Hybridisierung als Entgrenzungsstrategien der Avantgarde" ("Deterriotalization and Hybridi- zation as avantgarde's strategies of de-bounding"), so the titel of an article by Birgit Mersmann from 2002, Akane Kimbar insofar offers us to be fascinated by her fine discoveries which she has found in silence's somewhere of soul processes and then decidedly drew with a sharp pencil holding it like a calligraphy brush.

Why should we be fascinated?
In "Weltrevolution der Seele" (world revolution of the spirit) Peter Sloterdijk in recours to Aragon formulated 1993: "poetry is the sole hereafter, not because it bends the bow between 'this world' and 'the hereafter', between above and below: it is the hereafter itself. The word does not bear witness but is transcendence itself."

Has a sensually given - mainly by chance -, about which Akane herself only could give information, lead here to a sign-like consciousness connection which shows itself here in the oval - on the path to self-knowledge in contact with western culture, for example the ancient demand of gnoti sau ton or the martyr figure of Saint Dionysos of Paris who in middle-ages images carries his bleeding head under his arm? Speculation or possible starting point to look at it? Beyond the strategies of "Deterriotalisierung und Hybridisierung als Entgrenzungsstrategien der Avantgarde" ("Deterriotalization and Hybridi- zation as avantgarde's strategies of de-bounding"), so the titel of an article by Birgit Mersmann from 2002, Akane Kimbar insofar offers us to be fascinated by her fine discoveries which she has found in silence's somewhere of soul processes and then decidedly drew with a sharp pencil holding it like a calligraphy brush. Why should we be fascinated? In "Weltrevolution der Seele" (world revolution of the spirit) Peter Sloterdijk in recours to Aragon formulated 1993: "poetry is the sole hereafter, not because it bends the bow between 'this world' and 'the hereafter', between above and below: it is the hereafter itself. The word does not bear witness but is transcendence itself."	Lyric poetry, concrete poetry, visuell poetry.....I would like to finish by reading to you a 'haiku' which Akane Kimbara learned at school just like we learned poems by Goethe. It is by the Japanese Matsuo Basku who lived in the 17th century: The ancient fishpond. A frog jumps in it. Oh, the sound of the water. Following the Haiku rule 5-7-5 (so the already mentioned titel of an exhibition in Kunsthaus Hamburg) in my opinion it should read like this in the translation: The ancient fischpond. Oh, the sound of the water. A frog jumps in it. Whether you now count up the image repertoire or forget yourself let yourself be caught up in its poetry: I wish you a nice evening and thankyou for your attention.
Akane Kimbara: "....I have forgotten that I'm sitting in a cab..." 2007, installation, drawing and video
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