EINSTELLUNGSRAUM e. V. Llaura I. Sźnner : Protektionsinstallation

Doubt, skepticism and the philosophical skepticism of the well- meant but badly realized ideas and actions of protagonists are thus not only advisable but for self-social-protection in the context of survival even necessary! With the idea of a 'Shared Space' (visitor: "....oder die Kunst nicht gelyncht zu werden" - ...or the art not to be lynched) a stab is taken at protecting the only seemingly auto- nomous individual in its social entanglements by a space that is to be used commonly - and this by the social, moral and psycho- logical ability of the protagonists to share the fought over habitat equitably out of reasonable judiciousness. This justified utopia is at the core of life experience however nothing other but decreed madness with utopian glimmer of hope for gullible and fatuous people, and those who believe in the reality of the civil democracy. Only who is capable to recall the genesis of skepticism evolution-historically as a within the capitalistic competition accrued consciousness for protection of life and survival will develop an ability "mit ihrem {seinem}Wissen um die Bedingtheit der Wahrheit durchs psychologische Individuum" (with his knowledge about the conditionality of truth because of being a psychological individual who has a psyche)**** to bring to a protective balance the inadequacy of material and term, a priori imagination and reality a posteriori: to swing into and to settle, as well as a art- and culture-historical concept for analyzing psycholo- gical energies of life and art since Aby Warburg will have to give the measure of beat, Schlegelns* and swinging - also coming from the etymological term - as motor and motivational support. Der Takt macht die Musik***** - and with this we are directly within the Protektion Installation of the artist and keen thinker Llaura I. Sźnner.

Stability and lability
The art of Laura's thinking, chaffing and designing consist in the ability to invent and put into effect sensual as well as poetical,

Doubt, skepticism and the philosophical skepticism of the well- meant but badly realized ideas and actions of protagonists are thus not only advisable but for self-social-protection in the context of survival even necessary! With the idea of a 'Shared Space' (visitor: "....oder die Kunst nicht gelyncht zu werden" - ...or the art not to be lynched) a stab is taken at protecting the only seemingly auto- nomous individual in its social entanglements by a space that is to be used commonly - and this by the social, moral and psycho- logical ability of the protagonists to share the fought over habitat equitably out of reasonable judiciousness. This justified utopia is at the core of life experience however nothing other but decreed madness with utopian glimmer of hope for gullible and fatuous people, and those who believe in the reality of the civil democracy. Only who is capable to recall the genesis of skepticism evolution-historically as a within the capitalistic competition accrued consciousness for protection of life and survival will develop an ability "mit ihrem {seinem}Wissen um die Bedingtheit der Wahrheit durchs psychologische Individuum" (with his knowledge about the conditionality of truth because of being a psychological individual who has a psyche)**** to bring to a protective balance the inadequacy of material and term, a priori imagination and reality a posteriori: to swing into and to settle, as well as a art- and culture-historical concept for analyzing psycholo- gical energies of life and art since Aby Warburg will have to give the measure of beat, Schlegelns* and swinging - also coming from the etymological term - as motor and motivational support. Der Takt macht die Musik***** - and with this we are directly within the Protektion Installation of the artist and keen thinker Llaura I. Sźnner. Stability and lability The art of Laura's thinking, chaffing and designing consist in the ability to invent and put into effect sensual as well as poetical,	satirical, humorous but still melancholic if not death-serious objects, sculptures and installations. Thereby in an act of perception between linguistic and sensual finding within dialectics of term and material, word and image the materials, term ap- propriations and the forming combinations from this are recast to a synthetic imagination: alchemy. The soft against the hard, the unstable against the steady are turned around and entangled against the normed tenor. Thus in the aesthetic pretense it results in an ironic or satiric realism and surrealism (G.F.Gerlach); in the reflective level the artist philosophically raises and makes visualizes with this the subject of the failed utopias as well as the question for meaning, function and essential core of a matter, that is a 'sensing thing' (S.Tretjakov). In this creative swinging-into and settling thus swinging and schlegeln* in indetermination - where according to Walter Benjamin truth may be located only - the hard to endure flame of tragic comedy is burning continuously. This artistic method floats like a sword of Damocles above our thinking and our senses and as strategy of artistic exercise (compare: G.F. Gerlach, Kunstforum, vol.76 1984) it is assured brilliant company of Marcel Duchamp, Claes Oldenburg, Sylvie Reno, Bogomir Ecker and Michael Dšrner. The pendulum that strikes and schlegeln* out here is thus fully literally understood an emerging ancient percussion instrument in ornamental decoration which offers us beat with syncope, social sharing and radical cutting as a peaceful and militant instrument at the same time for protection against the decreed madness. "Death for reforms, death for 'small' ideas" the artist announces, because "Wir gehšren einer Zeit an, deren Cultur in Gefahr ist, an den Mitteln der Cultur zu Grunde zu gehen" (we belong to a time where culture is in danger to perish from the means of culture) Friedrich Nietzsche wrote in "Menschliches, Allzumenschliches" (human, too human) in the year 1878 (MA I 520; KGW IV/2, S.336). It is the wrong world of
**** Max Horkheimer: Vertrauen auf Geschichte, GS 4, 12-18, 27-35, 42,67 ( Max Horkheimer: Trust in History, CW 4, 12-18, 27-35, 42,67 )	***** literally translated it says the beat makes the music, this is a derivation from the German idiom :Der TON macht die Musik - the sound makes the music, which is the equivalent to the English phrase: It's not what you say, but how you say it.
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