...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:
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 ..…..
Schöne, 25.09.03 (Detail)