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Appointment with Death is a work of detective fiction by British writer Agatha Christie, first Sarah confronts Mrs. Boynton whose apparent reply is a strange threat: "I've never forgotten anything – not an action, not a name, not a face." When the party reaches Petra, Mrs. Boynton uncharacteristically sends her family away.
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Der Transfer und die Schnittstelle sind das Entscheidende. BK: Qualitativ sicher nicht, denn die Werbebanner sind teilweise schon gut gemacht. Jemand muss ja auch die AFD Werbung konzipiert und umgesetzt haben, eher unwahrscheinlich, dass da eine Gesinnung dahinter stand oder? BK: Ja, das ist seltsam. BK: Wenn ich es im Kunstkontext ausstelle, dann ist es unbedingt Kunst. Wann war das?
BK: Als ich den Negativfilm voll hatte, wusste ich, dass noch einige folgen werden. Ich denke, das ist eine stattliche Serie. Worin siehst du den Unterschied zu deiner A4 Serie? BK: Die Zeitspanne ist absolut deckungsgleich und wir haben uns nicht abgesprochen. Das sind die Voraussetzungen.
BK: Nein, das ist eine komfortable Situation, um die er zu beneiden ist. Die typografischen Inhalte hat er zudem farbig ausgeblendet.
JS: Deine Aufnahmen geschahen auf der Piste. Ben Kaufmann A4 On view through April 6th The exhibition, A4 by Ben Kaufmann is based on a series of photographs, all of which were taken on a stretch of the A4 motorway between the cities of Cologne and Aachen from to The series documents existing components found within this public space and emphasizes two key focal points, the Weisweiler brown coal power station and commercial lorries travelling on the motorway.
The Weisweiler power station is one of the most environmentally damaging in Germany and has become symbolic of environmental discussions, the demand for an energy revolution and for ensuing societal and workplace controversies. The lorries that Kaufmann photographs on this stretch of motorway depict advertisements that, for the most part, present a sexist view of women and ignore critical discourse about socially established gender stereotypes.
In passing neither the power station nor the lorries advertised messages are explicitly scrutinized, they become just a part of the everyday exterior space that passes us all by. However, the valid reality on the roads stands beyond all legitimate discussions on this subject. Here reality mixes with state propaganda and prospering economic interests ad absurdum. The road as a public space is ideologically subject to varying interests and related claims of ownership.
Ben Kaufmann likewise makes use of this space and shoots the photos in his A4 series from within a moving car. The interior of the vehicle is implied through the windows, door frames and wing mirrors that can be seen in the photos, this conforms to formal conventions of landscape photography, where for example depth of space in the composition is created by a kind of draping of the foreground. This artistic guerrilla strategy is suggestive of snap-shots, having said this, it actually deals with targeted photographs, since it is primarily about the image itself.
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What significance does it have for your artistic approach and more specifically for you personally? Ben Kaufmann: There is definitely a causal connection when we think of the advertising motifs, or rather the sexist depiction of women on the lorries. These are things that I pick up on. The image of gender and role models that has been handed down as a result of this exists and existed even without the current debate.
When I began the series A4 in , the debate in question was one of a clear minority, now, however, it is a global discussion. JS: And for you personally? Over the history of exhibitions at the Neue Aachener Kunstverein during my tenure, the quota was at least balanced.
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BK: No, then I expressed it badly. I see my position more as a seismograph. I pick up on phenomena and developments, this works most directly on the street. Which brings us back to the original question about artistic strategy. BK: For me, the street or public space is a parallel world to the art world, both, however, are existential. Art that is solely generated of itself and only quotes itself is not relevant for me. It is the transfer and the interface that are crucial.
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JS: Should this area be interpreted as a transit area, and the lorries are somehow the connection between the worlds you talk about? BK: Yes and no, the trucks and their advertising messages are more than real. The emancipation that has taken place over the last 50 years is completely ignored and it becomes apparent, when we identify them as clients or owners of the company, that this particularly happens in mid-sized businesses.
I also ask myself, what kind of advertising designers are they? BK: Certainly not in terms of quality, in as much as the advertising banners are, in some instances, well made. As an artist your work is also available to all and can be bought by anyone. These oversized stickers on the trucks actually exist? The suppression of the military coup is seen as a welcome opportunity to level out the apparent damages of democracy.
BK: Of course, they have been profiting from Erdogan for the last 15 years. I have seen these banners on different vehicles from different Turkish companies, so it has to be quasi-organized. JS: So, you pursue tendencies and things that you detect in everyday life, even though they are visible to everyone? Things stand out to me and I research them in order to understand them contextually. BK: When I present it in an art context, then it is absolutely art. But this discussion is years old.
Art always has to do with aesthetics or its deconstruction. By the way, that really impressed me. When was it? BK: When the 10th roll of film was full, I knew that more would follow. By the end of it was around 50, each with 36 photos. I think that is a considerable series. There are also countless mobile phone photos. How do you see the difference to your A4 series?
BK: The time period is identical and we never discussed it. Peter Piller is an established artist and professor, he is represented by renowned galleries and the book was published by Hatje Cantz. These are the prerequisites. BK: No, it is a comfortable situation to be envious of. Piller has always selected the same view of the rear of the lorry trailer. The typographical content is also colourfully hidden. JS: You took your photographs out on the road. Ihren Eigennamen zum Logo erweiternd, kritisiert sie patriarchal-kapitalistische Zuschreibungspraktiken.
Johann Wolfgang von Goethe, Faust Tragedy, part 1. The ephemeral becomes an actual integral element that questions the fleeting nature of all life determining things. By turning her own name into a logo she criticised patriarchal and capitalist attribution practices. Further artistic studies into the acoustic and visual phenomena of sound and smoke disclose a reflection space by the means of various media such as, photography, video projection, painting, drawing, sound installation or sculptures of transience. These fleeting characteristics of sound and smoke become symbolic of transience and evident of its complexity.
Central aspects of human existence, such as, Joy! September — Oktober Dass das Schlagzeug nach diesem Konzert nicht mehr wie vorgesehen aber vielleicht anders? Albert Mayr, in St. Ghost notes are subtle strokes that drummers use in order to lend a piece of music more groove. Depending upon the setting of the infusion regulator, either fast or slower syncopated overlapping rhythms are produced.
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The collages presented in this exhibition translate the principle of such successively connected sounds into the visual: everyday objects and found pieces are scanned in, printed out, affixed and connected with fine lines drawn in pencil. The resulting schema resembles a circuit diagram, or similarly one can imagine them as operating instructions for a roadie in a rock band whose job it is to correctly set up the guitarists effect unit so that it connects sequentially.
However, following the rules of sound engineering, we can be sure that feedback is produced by the various circuits of these elements. This piece is a re-staging of a performance in which drums and cymbals are played in an endless loop by the steady drops of a lawn sprinkler, it is a skilful reference to a drum solo that seems to never want to end, taken from the song Iron Butterfly by the band of the same name.
However in the version that is presented here Mayr explores the exploding sound of the drum boiler, that likewise attains an organic quality through irregularly igniting firecrackers. Following in the Rock-Tradition Mayr willingly accepts that after this concert the drums can no longer be played as intended but perhaps in another way?
Albert Mayr, born in St. Schaller setzt sich in ihren Arbeiten immer mit dem jeweiligen Raum auseinander. Wer sich umschaut oder lacht, dem wird der Buckel blau gemacht. Performance and media artist Evamaria Schaller absolved in a two-months scholarship in Istanbul. At that time Turkey showed first signs of an authoritarian regime due to waves of arrest and restrictive laws.
In Istanbul Evamaria Schaller did minimal performances in public space that has been male dominated since old times. Oder kann bereits dann von extremen Tendenzen die Rede sein, wenn es eine gegenteilige Meinung zu der herrschenden gibt? Muss sie ein Ziel haben? Hat Kunst Grenzen oder muss Kunst Grenzen haben? Wer legt in letzterem Fall diese Grenzen fest? Eine bewusst humorvolle Setzung innerhalb der Ausstellung vollzieht sich mit dem Institut Avaroid.