| Rightly of course we are
interested in the quality of what is projected and where to. What character
does the picture mass still have? These are pictures of a wall, not any
wall, but the wall of the exhibition room. Tiles, heater, part of the ceiling,
drilling hole, wallcover with holes. As motives by themselves these are
insignificant. Thrilling is that the picture of reality covers the reality
of the wall.
A doubling of the same visible part of the room. But unlike in advertising where a message is beaten into us, neither the tautology in an unnecessary doubling of the same. Because it is never perfect! And thus something happens between the picture of it and the real, something starts moving. It is the small shiftings, the small bluntnesses, the changes in detail, the twistings, the pure enlightening or darkening of the reality, which kiss our sensibility awake. That is his contribution for border awareness. Another kind of border awareness
you certainly experienced with yourself right when you came in. Possibly
you still are under live wire a little, because you askyourself if you
may or not. I am speaking of the game field, which JUDITH HARTMANN has
drawn out here on the floor for the EINSTELLUNGSRAUM.
On purpose she touches something
very deep inside us: our drive to play. Because although often those game
fields do not correspond the real ones, neither in dimension, proportion
nor parting, we instinctively understand these 'language'and treat
them dynamically or following the rules depending on character and condition.
the behaviour of the people who come in contact with the game field is
therefore as important for Judith Hartmanns as the
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