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

new but that it appears also when they imitate something existing respectively make it appear. In this way he does not implicitly discredit the 'creative' but shifts the art installation in the proximity of the phenomenons of the world of goods and the exhibition arrangement in shopping windows and in trade shows. This is consistent with Benjamin's approach who related to Baudelaire and the figure of the flaneur in order to examine the function of the displayed goods in the alleys and department stores as well as the show events of the 19th century like for example the panoramas. The forms of presentation that developed in the 19th century with the mass prevalence of products and goods of all kinds namely tried to compensate the arbitrariness - therefor the loss of the aura - of a mass product by putting it in a new and extra- ordinary context that equiped a product with specialties that the product itself doesn't even hold in order for it to appear distinctively and covetable. This argumentation sanctioned not only the Ready-Made but caused also its overwhelming effect in the 20th century that guided the attention to the presentation by which one let accrue meaning for a chosen item. Here also lie the reasons for the esteem that could be achieved in the course of the art-historical disputes for example for Kurt Schwitter's Merz-Bau and the international Surrealists exhibition in 1938. By the parameters and the art context into which finds (objets trouvŽes) were included too it is possible to grant actually banal things an attention that replaces the traditional - mostly sacral - context and asks for contemplation. In this way - hence primarily by placing into an art specific correlation - a find respectively any reproduced item achieves an aura which before only was allowed for sacral items and art works only.⁸
Josephine Mecksepter carries this game with aura-creating to the extremes by replacing the presented pieces by images that she presents in windows clued on cardboard or rigid foam tiles in order to play with the expectations of the onlookers to whom she ultimately offers only the suggestion of the fetish character of goods. Bromma and Brueckner take another route. They omit the fetich character of three dimensional goods and fathom the aura of things in relation to their calamity potential - a potential that goods gain when they suddenly become scarce.

from knacker-yard of which the meat cannot be sold and has it pickled in formaldehyde. He does not breed the calves himself, does not produce them nor represent them, he merely uses the capability of the taxidermist and the know-how of companies that supply him with large glass tanks for this respectively the skill of designers who build appealing show cases. In a world that is threatened to suffocate on its products showing of what exists is more fascinating eventually than producing something new. The connectivity is unusual albeit not new. This applies as well for his showcasing of medical drugs - if capsules or tablets - that have been given special shapes and colours by the designers of the pharmaceutical industry. They are in mass circulation and without original packaging with best-before date actually worthless. The summary presentation of individual pills, tablets and capsules makes the diversity in its collectivity however to a one-time and thus popular aesthecical sensation.^{4 1. Documentation and waste Boris Groys has commented on this method of showing, which pushes aside the making and the inventive, several times.⁵ He noticed a preponderance of the documentary in this regard, in doing so he refers to the often quoted article by Walter Benjamin Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit (the artwork in times of its technical reproducibility) and the here mentioned - often overseen - connection between traditional art works and their relation to place which should be seen as a circumstance constituenting the aura. Because of this reason, so the argumentation, alone the missing localization of reproductions - called 'Deterritorialiserung' (deterritorialization) by Groys - limits their impact. It is the universal avai- lableness that entails an escalating 'Deerriotalisierungt' and as long as reproductions appear in arbitrary contexts they are no longer noninterchangeable. And just that is the flaw of the reproductions that is compensated nowadays by the installations as a method of showing and at the same time the new} ^{relation to place ('Reterriorialisierung"/ re-territorialization).⁶} At another spot Groys states that the greatness of artists is not proven by creating something	new but that it appears also when they imitate something existing respectively make it appear. In this way he does not implicitly discredit the 'creative' but shifts the art installation in the proximity of the phenomenons of the world of goods and the exhibition arrangement in shopping windows and in trade shows. This is consistent with Benjamin's approach who related to Baudelaire and the figure of the flaneur in order to examine the function of the displayed goods in the alleys and department stores as well as the show events of the 19th century like for example the panoramas. The forms of presentation that developed in the 19th century with the mass prevalence of products and goods of all kinds namely tried to compensate the arbitrariness - therefor the loss of the aura - of a mass product by putting it in a new and extra- ordinary context that equiped a product with specialties that the product itself doesn't even hold in order for it to appear distinctively and covetable. This argumentation sanctioned not only the Ready-Made but caused also its overwhelming effect in the 20th century that guided the attention to the presentation by which one let accrue meaning for a chosen item. Here also lie the reasons for the esteem that could be achieved in the course of the art-historical disputes for example for Kurt Schwitter's Merz-Bau and the international Surrealists exhibition in 1938. By the parameters and the art context into which finds (objets trouvŽes) were included too it is possible to grant actually banal things an attention that replaces the traditional - mostly sacral - context and asks for contemplation. In this way - hence primarily by placing into an art specific correlation - a find respectively any reproduced item achieves an aura which before only was allowed for sacral items and art works only.⁸ Josephine Mecksepter carries this game with aura-creating to the extremes by replacing the presented pieces by images that she presents in windows clued on cardboard or rigid foam tiles in order to play with the expectations of the onlookers to whom she ultimately offers only the suggestion of the fetish character of goods. Bromma and Brueckner take another route. They omit the fetich character of three dimensional goods and fathom the aura of things in relation to their calamity potential - a potential that goods gain when they suddenly become scarce.
The 03th. exhibition in HYBRID EINSTELLUNGSRAUM e.V.	Vernissage
4 Here it is about transposition of abundance to scarceness and about the not definable border between garbage and not garbage. M.T.: Rubbish Theory. The creation and destruction of value; Oxford Univ. Press 1979 (page 28 in the German translation edition from 1981). 5 Boris Groys : "Kunst im Zeitalter der Biopolitik. Vom Kunstwerk zur Kunstdokumentation" (art in times of bio politics. From the art work to documentation as art) in: documenta 11_level 5: exhibition, Kassel 2002, 107-113; Boris Groys in a series of articles about Fischli and Weiss, 'Simulierte Ready-Mades von Fischli und Weiss' (simulated Ready-Mades by Fischli and Weiss) in Boris Groys "Kunst-Kommentare" (art commentaries) , Vienna 1997, pp. 131-138; and "Die Geschwindigkeit der Kunst" (The speed of art) in: Kunst-Kommentare pp. 139-147. 6 Groys, 2002, page 113. When Groys mentions here the "Re-territorialisirung" as countermeasure to 'Deterriotalisierung" and allocates it to documentation as art he chooses a rather weak one, although he knows about the power of the Installation through his team work with Ilya Kabakow the power of the installation that made it possible to introduce rejected or eliminated things into the context of art in an enduring way. 7 Groys 1997, p. 131.	8 Groys 1997, p.113. With the argumentation by Groys it is direction-giving that he does not see the aura disappearing with the new possibilities of reproduction of artworks but recognizes new potentials in these that leaves it to the artists to work with mass products and create new outcomes for these by Installations that make documentary art appear with an aura. Thus Groys represents the possibilities of reproduction offensively whilst Juliane Rebentisch views "auratische Kunst" (art with aura) as 'gar nicht wuenschenswert' (not at all desirable) in Die Aesthetik der Installation (aesthetics of the Installtion) [Frankfurt a.M. 2003, pg. 185). She devotes a paragraph explicitly to Groys and Banjamin but is taken in by the widespread error that the loss of aura had been caused by mass production. The latter rather heralded a new phase of aura-dization. Rebentisch however could not relate to the named article by Groys because her work was already written at the time of the publishing of the d_11_catalogue.
Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek
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