Das Wort Kreativität hat seinen etymologischen Ursprung im lateinischen „creare“, was zeugen, gebären, schaffen, erschaffen bzw. ins Leben rufen heißt. Wird der Begriff „creativity“ ins Deutsche übertragen, gelangt man zu Formulierungen wie „schöpferische Fähigkeit“, „schöpferisches Denken“ oder „schöpfen“ (Stockhammer 1983). Diese Verankerung stammt ursprünglich aus der Theologie und bezeichnet den „Creator“ (Schöpfergott), welcher in der Lage ist, aus dem Nichts etwas Neues (creatio ex nihilo) zu erschaffen. Weiterlesen →
Christine de Lignières: Your work is visually related to a high-modernist formalism that includes Bauhaus, De Stijl, Mondrian … to aesthetic movements, at a certain period in history. Do you feel a kinship with those artists?
Joan Waltemath: I don’t really approach my work stylistically in relation to Modernism because the kind of geometry that I’m working with is so old, and I mean mostly it’s been used in architecture. If you look at plans from Gothic and Romanesque churches, from the pyramids, the Ziggurats — these geometric forms obey certain mathematical laws of nature. That’s the basis of the grid I work on using harmonic ratios. The lineage of modernism is something that I’m obviously in tune with, but my focal point is more on the timeless nature of the geometry itself and how it’s able to open certain doors of perception. Weiterlesen →
Welcome, please come inside. What we are going to do now is a kind of participatory performance. Oh, My God, you may think. Am I now to perform myself? What I want you to do, is to lie down on your back and close your eyes. All of you – in this space. This is actually the only act that you are going to do, it’s not more difficult than that. This is perfect. Thank you very much. Okay, then I need you to close your eyes. Welcome. Relax. Weiterlesen →
The formulation I CAN SEE (WIDZĘ in Polish) has been written in Braille, photographed and printed. The absurdity of this treatment is a reflection of the notorious sense of the absurd, which I experience as the author of visual messages. My artistic experience shows in fact a serious lack of preparation vast majority of our society for the reception of contemporary art, and my teacher experience of the Art Academy deepens this conviction.
I CAN SEE – put it simply – means that the potential recipient, in order to understand the messages of contemporary art, should know its language.
Photographing Braille signs is absurd, like it would be a photocopy or other form of flat reproduction. Putting these photographs at the museum exhibition (prohibition of touching the exhibits!) further emphasizes that absurd.
In the early 1960s, having just come over from the GDR, I naturally declined to summon up any sympathy for the aims and methods of the Red Army Faction [RAF]. I was impressed by the terrorists‘ energy, their uncompromising determination and their absolute bravery; but I could not find it in my heart to condemn the State for its harsh response. That is what States are like; and I had known other, more ruthless ones. The deaths of the terrorists, and the related events both before and after, stand for a horror that distressed me and has haunted me as unfinished business ever since, despite all my efforts to suppress it.