Dear guests and friends of the EINSTELLUNGSRAUM e.V.

When I now make a few words to you to introduce in this exhibition you will not expect from me that I will produce a direct closeness to the works of Claus Bšhmler with the method of digital language.

The ever since 40 years regularly conventions analyzing Claus Bšhmler - now commonly known as media artist - can not again be imprisoned in conventional media by what fascinates him in the methodic.

Very likely you come here to see what Claus Bšhmler has to say to paradise in relation to the car, the year subject of the EINSTELLUNGSRAUM 2005.

You will either be disappointed or surprised. The media artist Claus Bšhmler shows you  qua re exclusivly canals, doors, vehicles - in-so-far parabels -, which you may use to put your own visual repertoire to test.

Claus Bšhmler is a media artist as Regina BŠrtel has described him in her cataloge text for 40 Jahre Jahre Fluxus und die Folgen (40 years fluxus and its results), Wiesbaden, 2002. That means that his signals have been given in a way so you are seduced to look closely, but then will be left alone with your sensations, because the frog is no frog just as RenŽ Magritte already tried to convey accordingly in his paintings. But still the hopping, crawling and buzzing of the insects and crawling critters is omnipresent. "The relation between fiction and truth', so Regina BŠrtel  in the above mentioned text, "which comes across clearly here, the relation between picture and world, as well as original and copy, is therefore made subject by Bšhmler in manyfold ways in writing, speaking and building."

In our context here Claus Bšhmlers interest for the edges of the everyday cultures however is also interesting in regards of  a solely semantic aspect.
It occurs a surprising symmetry so-to-say. His interest in insect pictures of schoolbooks for biology lessons, in insects which never get mentioned in those stories of the paradise- garden but do belong to any abundant flora and fauna points to a chronological distant artistic, artificial connection. In baroque still life paintings, the nature morte - like for example those of Calvinist Netherlands of the 17th century Heda und de Heem, who presented allegorically the paradise and the transitoriness of the human availability of it with juicy fruits and fresh flowers -  insects appear always, finely brushed and visible only on second glance. Those on the surface of plump grapes dew sucking small creatures remind the pious onlooker of the lurking present of the evil as well as the lures of the sensuality, the suck-stinging devil, as well as the desire.