Martin Walde | Open Borders | Martin Walde and Jens Asthoff (page 7)


		Open Borders \| Martin Walde and Jens Asthoff

		continued from page 6

terms:		... but images that are moving in different ways. What I like here is the sensory bombardment: you no longer know what is a still, what is a moving image, what is animation, what is film? The whole thing isn't formalized at all, but pretty wild and woolly. It brought a hard reality into the material that was very important to me. And then various places and locations from certain regions of the world come into it as well. You see big cities like Tokyo, Paris, and New York, Philadelphia, Berlin, Vienna as well and a few smaller towns. And even here there are no repetitions. Because all the elements are independent in origin, they can be integrated again too.
Der Duft der verblühenden Alpenrose
	p. 1
Enactments	p. 1, 2, 5, 6
Loosing Control	p. 1, 2, 5, 6
Wormcomplex	p. 2, 3, 4
The Invisible Line	p. 2, 4
The Big Perch	p. 2, 5
Tie or Untie	p. 2, 3, 4	How are the photo-montages made?
Green Gel	p. 3	They are manipulated. I go to the place where the particular situation came about and take photographs. I then draw people into these images like a storyboard. The architectural and social context are important, along with the action and the choreography of the movements, and it's much quicker to capture that in a photograph. I always take the direct way. The location should be recognizable, and the discrepancy of resources should arouse curiosity. As the years have passed, it has become denser, and more involved in terms of the material. And I deliberately allow myself time, because I've noticed that there's always a content-destroying compulsion to formalize. I try to be very open in that respect. Sometimes nothing but moods come out of it, people just have a schematized form then, and sometimes a more differentiated picture emerges, and then it's treated in a more differentiated way. We are far too fixed on seeing works as a closed identity, accepting them as a formally unified style. My ideas were always rather more hybrid there. I am more interested in an organic approach to artistic solutions.
Shrinking Bottles / Melting Bottles
	p. 3
Jelly Soap	p. 3, 9
Handmates	p. 3, 9
The Tea Set	p. 3
Fridgerose	p. 3
Clips of Slips	p. 6
NOFF #1	p. 7, 8
NOFF #2	p. 7, 8
NOFF #3	p. 7, 8
NOFF #4	p. 7, 8
Siamese Shadow	p. 8
Concoctions	p. 8	I think that's particularly clear in the NOFF work group. I think that here you're involving nature in a kind of model relationship with itself?
Liquid Dispenser	p. 8
		These works have been coming into being since the 80s. NOFF stands for "Nature's Own Flexible Facsimile". The term came from angling bait originally, they were sort of little frogs ...


		... so the title came from the fishing world?
		... yes, and it doesn't imply anything more than "copying nature". It was on the box of bait, and I liked it because it uses the same strategy for solving problems as bionics. I still haven't shown a lot of the forms from the NOFF series (see NOFF#1#2#3#4) in particular, they're more like small objects and experiments ...

authors:
Jens Asthoff
Martin Walde		I've read about five, but I can't remember them all now.(>>> continued)