Tagger-Projekt-Vorstellung 2022

Fetish in Fire


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A spontaneous session in the disused Cologne Federal Railroad Repair Works Atelier Klandt, 1995/96, today a housing estate.

It was a time of awareness and departure. Friends of spontaneous exchange met here. Lack of money and existential needs were perceived as imposed holographs of psychopathic fantasies of clouded souls of the cultural market, which we evaded with warmth of heart, harmony and skill. The more unknown these coincidentally meeting artists, the greater the challenge to ourselves to perform a resounding, harmonious hymn of praise to the Creator from them. This old „I have to be able to do even more, learn even more, listen even more closely to what the established want and deliver the cultural kick in a creative push beyond my own shadow with unmistakable handwriting“ was finally burned.
Everything is in you.
You are the temple, the stage is before you.
There will be no enraptured audience of millions there, no managers who could discover you – but is that necessary? because the Lord feeds you after all.

This worked surprisingly well, but soon the demands became greater and greater, at least make recordings for us and posterity, it was soon said – until – we should make professional recordings.
But – what are professional recordings? By that it was meant that recordings had to be made in the very best quality. What this means was not clear to most people, because if you get the best audio recorder, it will only work if you also get the best microphone and, of course, gold-alloyed cables and plugs. The device must be sonically adjusted, adapted to the room, or the place, a demanding task, which again is only possible with the best equalizer and a multi-channel mix. In the end, what you thought you were recording is no longer there at all, namely the energetic, spontaneous engagement in a joint creative work.

In visual, it’s even worse. With the best possible recording quality, additional light sources are needed, and should this actually be successful, you will often realize afterwards that the camera has followed its own language and that what you now have now recorded in the very best quality has little in common with the spirit and the fullness of the experienced performance. We’re not even talking about the production manager, cameraman and assistant, director, light setter…

For me this time, from which there are many documents and works, was a vital source and about 10 years later I tried to conjure up this spirit again in the Livingroom performances.

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