EINSTELLUNGSRAUM e. V. Antje Bromma und Hans Brückner: Wilde Mischung

When entering the EINSTELLUNGSRAUM the eyes fall onto a conglomerat of material under which red light is seen glowing. Recognizable is some industrial felt into which round holes have been cut into and cut out, a synthetic fabric sheathed with silver foil as well as synthetic foil and foam material. Sprinkled over it are remains of a bead curtain made of small wooden tubes and pompons from shredded and tied paper the way fall kites may be decorated with. Under closer inspection one notices that the materials were layered over two chairs making the whole thing resemble an improvised accommodation. A warming source of red light and a floor of bark mulch invite to crawl in but the possible entrances allow for a small child to get through just so. The emerged formation thus may function at best as modell than as igloo - if one wanted to call it that. The cluster of a former installation by Antje Bromma floats above.¹ Because of its position in the air and above the conjoint floor work the object acts like an intellectual extract or a spiritual bon mot to the layering on the floor. If nothing else this has to do with the by Bromma collected predominantly small and sometimes tiny parts being combined in one web and setting themselves apart from the more extensive and covering ingredients of the enclosure.

Brueckner as well as Bromma collect finds. So Brueckner picked up the silver foil after an agricultural exhibition on the Oktoberwiese in Munich, cut a grid of square holes into it later in the studio and sent it to Hamburg. In this way a dialogue started from which this concerted exhibition emerged. Bromma tested the possibility of this guideline by displaying, folding, rolling up, crumbling and sprinkling with playing cards or flakes. A second round was heralded by forwarding of an covering felt into which Brueckner had cut round holes. An also from Munich supplied lilac coloured foam mat initiated the layering and by that rapproaching a nomadic

Catastrophes are followed by evolution's construction sites Johannes Lothar Schröder about the exhibition Wilde Mischung by Antje Bromma and Hans Brückner I. Dialogue with material When entering the EINSTELLUNGSRAUM the eyes fall onto a conglomerat of material under which red light is seen glowing. Recognizable is some industrial felt into which round holes have been cut into and cut out, a synthetic fabric sheathed with silver foil as well as synthetic foil and foam material. Sprinkled over it are remains of a bead curtain made of small wooden tubes and pompons from shredded and tied paper the way fall kites may be decorated with. Under closer inspection one notices that the materials were layered over two chairs making the whole thing resemble an improvised accommodation. A warming source of red light and a floor of bark mulch invite to crawl in but the possible entrances allow for a small child to get through just so. The emerged formation thus may function at best as modell than as igloo - if one wanted to call it that. The cluster of a former installation by Antje Bromma floats above.¹ Because of its position in the air and above the conjoint floor work the object acts like an intellectual extract or a spiritual bon mot to the layering on the floor. If nothing else this has to do with the by Bromma collected predominantly small and sometimes tiny parts being combined in one web and setting themselves apart from the more extensive and covering ingredients of the enclosure. Brueckner as well as Bromma collect finds. So Brueckner picked up the silver foil after an agricultural exhibition on the Oktoberwiese in Munich, cut a grid of square holes into it later in the studio and sent it to Hamburg. In this way a dialogue started from which this concerted exhibition emerged. Bromma tested the possibility of this guideline by displaying, folding, rolling up, crumbling and sprinkling with playing cards or flakes. A second round was heralded by forwarding of an covering felt into which Brueckner had cut round holes. An also from Munich supplied lilac coloured foam mat initiated the layering and by that rapproaching a nomadic	whereabouts that took shape in the exhibition. The sent images from Munich of a mask and the figure of a fishing man with harpune deepened these associations with archaic and phyloge- netic dwellings and emphasized an improvised working method that defied rationalistic planning of inner and outer spaces²with its scope for design. Wouldn't this approach not already have started in architecture whose protagonists once functioned as booster for post-modernism we would have been surprised by this installation today. But I do not want to guide attention primarily to this not too long ago phase in art history but look back further on the deepened relation since Dadaism of artists to garbage and remains which has experienced booms since Neo-Dada in the 1950s again and again and like here it continuous to actively open space. II. To document replaces to be creative "The Dada Painters and Poems: An Anthology"* caused a great stir in 1951 amongst visual artists who - inspired by the expressed appreciation towards typographic experiments, sound poems and Ready-Mades by the author and painter Robert Motherwell - discovered the influential possibilities of time in visual art and as a result started to realize experimental installations and Happenings. Here they resorted to already existing materials, finds, aesthetics of goods, modules of typographies and the layout of newspapers, magazines and advertising. One could even draw a parallel to Renaissance where an appreciation for antique finds only started to develop. The relicts from the ancient world that were hauled during excavation work counted as rubble until then and found usage as building material. Those phases of disregard of later on respected things are concealed often. At the present such a cultural collecting of previously frowned upon can be observed in the exhibition 'Pop life' in Hamburger Kunsthalle (exhibitions and museum in Hamburg). One notices here how the roots of Pop Art that lie in the raggedly, the cheap and the production of junk - "Junk Art" - are distorted and suppressed with the exorbitant value-gain of Pop Art as collection and auction art.^₃ Though the artists of Brit Pop have been marketed profitably only since the 1990s even Damien Hirst cannot deny to participate at garbage when for example he obtains whole calves
The 03th. exhibition in HYBRID EINSTELLUNGSRAUM e.V.	*Robert Motherwell (editor): The Dada Painters and Poets: An Anthology, New York, 1951
1 compare my explanations about her works in 2008 www.einstellungsraum.de/archiv_bromma1_engl.html 2 The perforation of the foil and the felt mimics also the rasterized facades of high buildings which are put up here in a softened variation. 3 With this applies what Walter Benjamin speculated about the apologia when he recognized in it the aspiration to "die revolutionären Momente des Geschichtsverlaufs zu überdecken" (cover the revolutionary moments of the course of history). Zentralpark, in: Walter Benjamin 'Gesammelte Schriften' (collected works), vol.I, chap.2, ¤3, pages 655-690, here 658	Vernissage
Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek
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