Achim Hoops

...True naturalism, meticulous description would only disturb this room of  imaginarism. Truly this pictures are no pictures, no pictures of something definite, but they represent pictures, pictures which nap in the collective pictorial memory of remembrance and which Achim Hoops calls of by going further than the definite representation. Hoops arranges these pictures as stages on which one expects action. In expectation of future happenings one fills these emptiness with memory of past events, everyone with ones own. This superficial tension does not only come from the emptiness but also from how he has directed it….. 

…..whilst art in its development has more and more moved away from holding onto and developing collective treasury of pictures and moved towards art-immanent discussion, film on the otherhand has taken over this task. Film, in contrary to classical pictures,  is especially  suited as keeper and developer of a collective memory of pictures, because it literally materializes  in streams moving memory capability. Through the detour of film Hoops comes back to an almost old fashioned term of picture which originally was that of painting: to find generalized pictures through single pictures and find a binding from for it. Hoops finds those forms in those pictures which stimulate expectation, speak of promises, announce changes: 
a road as direction, a table as emptiness, a shop window as temp- tation, stairs as the un-known where-to, in short: pictures which as stillstanding pictures still are pictures of transition and also can be understood as that as we know them from film…. 

Consequently Hoops has not sped up his drawings in his film which gave the exhibition its name, neither filled them with scenes. The film-like aspect of his pictures is just not to be found in imitation of fast cutx, but rather in the moment of the transitory of each  picture  in its own binding form. Using the overblending technique , through which a picture slowly evolves out of another, he leaves this moment of transition in the pictures themselves and not inbetween the pictures  like in a film sequence, where the individual pictures are only part of an overall moving continuity. He translates back into flm only what he did in the drawings themselves: pictures peeled out of the darkness of memory, the black layers of lines in a drawing, into a note of Ernst Kretzer  here also sounds are formed through swings, which below the speciality of the melody recall the generality of sound and by that remind of fomer heard-of ..….. 

Veronika Schöne,  25.09.03 (Detail)
engl: Petra Buckley / Canada