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Open Borders | Martin Walde and Jens Asthoff | |
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continued from page 5 |
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terms: | |
... and at that very moment all the files one of them was carrying went crashing to the ground. They both tried to pick them up, out of politeness, and banged their heads together. It was almost a little slapstick classic. That's the kind of action element I mean, though this story didn't interest me particularly, as all that is already part of our culture. I'm more interested in things or processes that have this stigma, this misery of the irrelevant and singular, as a result of some element or other. |
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Der Duft der verblühenden Alpenrose | ||||||
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p. 1 | ||||||
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Enactments | p. 1, 2, 5, 6 | |||||
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Loosing Control | p. 1, 2, 5, 6 | |||||
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Wormcomplex | p. 2, 3, 4 | |||||
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The Invisible Line | p. 2, 4 | With phenomena like this, are you interested in an
element of poetry that... |
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The Big Perch | p. 2, 5 | ... it isn't poetry at all in this case, I don't feel like formalizing it at all. | ||||
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Tie or Untie | p. 2, 3, 4 | ... I mean that this is about something quite independent.
An alienation that tendentially, or for a
few moments, is not defined through something
different. And thus drops out of the order imposed
by general rules and behaviour codes for "public
space". |
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Green Gel | p. 3 | |||||
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Shrinking Bottles / Melting Bottles | ||||||
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p. 3 | I am interested in the singular element, and it sometimes is a problem to recognize a situation like that straight away. Often the insight comes much later. It's rather like a film shot in your head that you wind back to again. And then when I talk to people it's clear once again that they're seeing something I hadn't noticed at all. I have to be able to see something like that in order to describe it. Otherwise I wouldn't be able to translate it into language or drawing. That's the problem with the whole thing: how much am I taking in, so that I can store it up and translate it. If you look at a lot of the Enactments and Loosing Control scripts you'll see that they are scarcely communicable. I've tried to express things visually that lie outside the scope of documentation. You'd have to change each script into a kind of storyboard. | |||||
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Jelly Soap | p. 3, 9 | |||||
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Handmates | p. 3, 9 | |||||
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The Tea Set | p. 3 | |||||
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Fridgerose | p. 3 | |||||
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Clips of Slips | p. 6 | |||||
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NOFF #1 | p. 7, 8 | |||||
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NOFF #2 | p. 7, 8 | |||||
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NOFF #3 | p. 7, 8 | |||||
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NOFF #4 | p. 7, 8 | |
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Siamese Shadow | p. 8 | But you do that to an extent, don't you? I'm
thinking about the montages of photographs
and drawings that hung outside the pavilions in
Nordhorn? Are there other forms here as well? |
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Concoctions | p. 8 | |||||
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Liquid Dispenser | p. 8 | |||||
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Yes, I do make some storyboards. But I've opted for
a more solid visual form in the mean time. In Clips of Slips I tried to create a very dense and powerful
situation that is more stimulating as a start, and
then go on to the details. Clips of Slips was very important
for me, I found a strand there that has probably
never existed in this form. The work was shown for the first time in the Salzburger Kunstverein in 2002. There were two slide projectors, constantly shooting images into the space, and three rotating video projectors. The material used for these works is not new, some was newly adapted, videos above all, but the material comes mainly from the Enactments and from storyboards. This made for a completely new cinema event, as these aren't static images, ...  (>>> continued) |
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authors: | |
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Jens Asthoff | |
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| Martin Walde |   |
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