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Interviews

texts in English

Hermann Nitsch/ORLAN/Anke Röhrscheid

My Body the Heart of Architecture

Björn Drenkwitz

Conference

Canan Senol

Petra Keinhorst

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Hermann Nitsch/ORLAN/Anke Röhrscheid Physis der Seele – inszenierte Rituale (Physique of the Soul – staged Rituals) The works of Nitsch, ORLAN and Röhrscheid are diverse but they can be reduced to one common denominator: The presence of the body as organism. Thanks to it we can sense the external world and have perception. While our eyes optically capture impressions and send signals to the brain which in turn animates all other senses, it is our skin that functions as “feeling organ”.

My Body the Heart of Architecture Loose thoughts about utopian buildings and artistic rooms by artistsI In his work about architecture, the architect Vitruvius claims that the measurements of man are arranged by nature in such a w...

Björn Drenkwitz Observations on the Work of Björn Drenkwitz A colorful kite floats in the air and draws a figure eight in the cloudless blue sky. Certainly a great amount of skill is required to be able to comple...

Conference I was asked to speak about the eclipsing of Galleries Importance with a question mark and about the different possibilities for artists to be integrated in the art scene process.

Canan Senol Once upon a time...Canan Senol addresses in her work the question of structures in society and their effects on the individual life. State, politics and religion are the three pillars of every society. Suspended in between these pillars is a close meshed net of laws, rites and customs which tightly encloses – and conditions – the private sphere. Thus individuals become the malleable toys of society. They perceive their rights and duties as coercion; they see themselves robbed of freedom and look for it instead in the realms of what is secret or imaginary where they can exercise power and practice violence unpunished.

Petra Keinhorst While she was staying at the Künstlerhaus Schloss Balmoral, Petra Keinhorst developed a group of life-sized wax sculptures, which, because of their anonymity, are spontaneously associated with the white plaster figures by George Segal. Both treat the figures schematically by leaving out details which might create any expression of individuality. They are lonely figures, people without characteristics.