EINSTELLUNGSRAUM e. V. Susan Paufler: geteilt - zerteilt

fluids and papers, digital exposure and more), the duplication and dis- tribution (optical machines, laboratories and products as well as printers, inks and printing papers, computer programs, publishers, editors, ways to exhibit and more). In front of us here we have conventional photo-chemical copies of analogue and digital photography but also illuminated boxes with exposures on matted special foil. The analogue photos in the exhibit were scanned and processed further digitally, in doing so the artist was not intending on manipulating the images. Therefor her approach could be cal- led documental, when the motives wouldn't be different just because of them being distinguished from conventional conception of space by defi- nition and aforesaid splitting.

III Space that has ran off

To understand the challenge of the view of space it should be explicit how the landscape presents itself from the driving perspective. With the third participle: 'enteilt' (to have ran off) Susan Paufler gives a parameter which I will follow-up here.

Coming from the founded assumption that the here presented photographs are not simulated and were in fact taken from a moving train through the closed windows it is recommended to clarify how courses of movement when looking from inside a moving vehicle in general and from a moving train in particular are understandable.

The features of observing from behind a window of a moving train are these:

1. When the view is in a right angle to the direction of movement close-by things flit by and cannot be recognized depending on the speed of move- ment and chosen exposure time. Things in a distance stand relatively still. On the level in-between the things shift all the faster the closer they are to the onlooker.
This leads to the daily experiences being turned upside down that close

fluids and papers, digital exposure and more), the duplication and dis- tribution (optical machines, laboratories and products as well as printers, inks and printing papers, computer programs, publishers, editors, ways to exhibit and more). In front of us here we have conventional photo-chemical copies of analogue and digital photography but also illuminated boxes with exposures on matted special foil. The analogue photos in the exhibit were scanned and processed further digitally, in doing so the artist was not intending on manipulating the images. Therefor her approach could be cal- led documental, when the motives wouldn't be different just because of them being distinguished from conventional conception of space by defi- nition and aforesaid splitting. III Space that has ran off To understand the challenge of the view of space it should be explicit how the landscape presents itself from the driving perspective. With the third participle: 'enteilt' (to have ran off) Susan Paufler gives a parameter which I will follow-up here. Coming from the founded assumption that the here presented photographs are not simulated and were in fact taken from a moving train through the closed windows it is recommended to clarify how courses of movement when looking from inside a moving vehicle in general and from a moving train in particular are understandable. The features of observing from behind a window of a moving train are these: 1. When the view is in a right angle to the direction of movement close-by things flit by and cannot be recognized depending on the speed of move- ment and chosen exposure time. Things in a distance stand relatively still. On the level in-between the things shift all the faster the closer they are to the onlooker. This leads to the daily experiences being turned upside down that close	things are recognizable in detail whilst those further away are not given as much attention. But these are the most stable ones, relatively, during the journey as long as nothing shifts in-between them and the onlookers. 2. Is the view forwarded angularly - in a train only from the engine one can look ahead - one sees the things that will flit by in the next moment already somewhat sooner and one can prepare ahead benefiting identification. This way of looking out admittedly requires high concentration and leads to early tiring and dwindling concentration. 3. Remains the reverse view. This position is that of the angel of history with Walter Benjamin^_.1 The suddenly appearing things close-by disappear as fast as they came, whilst the so stimulated view turns more likely to the mid-distance or far-away things. Because of them being distant details can be made out only with efforts or means. These experiences of a traveller looking out the window essentially stayed like that until the acceleration of the speed of trains made looking out of the window a torment so that today one can speak of an increasing disorientation of travellers. Already in Fondazione e Manifesto del Futurismo, which was published 100 years ago it says: "8. (...) Il Tempo e lo Spazio morirono ieri. Noi viviamo già nell'assoluto, poichŽ abbiamo già creata l'eterna velocità onnipre- sente."² space and time have died today. We are already living in the absolute. IV The onion shape of space The space of a landscape as can be observed by a passing through race car driver was represented by Gerardo Dottori³ in 1925 - 1926 like an onion which is applied around the vehicle in layers hence the onion is disinte- grated by the vehicle and closes itself up again behind the vehicle. Therby
	1 It is possible that the design of the 'angel of history' by Walter Benjamin is a product of meditations of a train traveler . 2) F.T. Marinetti, Fondazione e Manifesto del Futurismo, Le Figaro, Paris, 11.02.1909, p.1 3) Gerardo Dottori: Velocità (Triptych). Omaggio a Dottori, Galleria ãIl CaravaggioÒ, Roma 1975, ill. 43-45. AusfŸhrungen zum Mittelbild des Tiptychons (Comments on the middle part of the triptych) in: J.L.Schršder: Monoposto, Mythos und Technik zwischen 1904 und 1927, Magisterarbeit UniversitŠt Hamburg 1981 (Monoposto, myth and technics between 1904 and 1927, M.A. thesis, University Hamburg), pages 21-22
.	Vernissage
Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek
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