Fetish burning


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A spontaneous session in the disused Cologne railway repair works Atelier Klandt, 1995/96, today a housing estate.

It was a time of awareness and new beginnings. Friends of spontaneous exchange met here. Lack of money and existential hardship were perceived as imposed holographies of psychopathic fantasies of clouded souls of the cultural market, which we avoided with warmth, harmony and skill. The more unfamiliar these randomly assembled artists were, the greater the challenge to ourselves to perform a resonant, harmonious hymn of praise to the Creator. This old „I have to be able to do even more, learn even more, listen even more closely to what the established artists want and deliver the cultural kick in a creative push beyond my own shadow with an unmistakable signature“ was finally burnt out.

Everything is within you.
You are the temple, the stage is in front of you.
There will be no rapturous audience of millions there, no managers who could discover you – but is that necessary, because the Lord is feeding you.

That worked surprisingly well, but soon the demands became greater and greater, at least to make recordings for us and posterity, we were soon told – until – we should make professional recordings.
But – what are professional recordings? This meant that the recordings had to be of the very best quality. What that meant was not clear to most of us, because if you get the best audio recorder, it will only work if you also get the best microphone and, of course, gold-alloy cables and plugs. The sound of the device has to be adjusted to suit the room or the location, a demanding task that is only possible with the best equalizer and a multi-channel mix. In the end, what you intended to record is no longer there, namely the energetic, spontaneous engagement in a joint creative work.

It’s even worse visually. Even with the very best recording quality, additional light sources are needed and if this is somehow successful, you will often realize afterwards that the camera has followed its own language and that what you now have in the box in the very best quality has little in common with the spirit and fullness of the performance you experienced. And we’re not even talking about the production manager, cameraman and assistant, director, lighting technician…

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



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Rehearsal in Northern Italy


music: Matthias Wieneke, Eric Olsowski

A rehearsal in the middle of the „Pampa“ in 1995, not so far from Florence, but much higher up. We were here to produce something for Italian television. However, I hardly remember any details about it. As the second cameraman, I was fully occupied with the teams and did my projection exercises on white marble rocks and old houses in the cool summer night of the Southern Alps region. The music came from Matthias and Eric, I used it to record over the original soundtrack, a conversation between the project management and the artists. It is often the case when I project outdoors that people join me in the light and action of my paintings and enjoy talking to each other. Young people like to use the immediate proximity of the moving colorful live projections as a meeting place.

In this video you can clearly see that only high-contrast structures come out well on the dark natural stone of the house, the colors are partially absorbed, what still makes it to the lens of the camera is then no longer really colorful. The eye is naturally more sensitive and can perceive the colors very well even on suboptimal projection surfaces.

The Judgment


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For the Kafka year 2012

Musik: Matthias Wieneke, Eric Olsowski

As a group, we wanted to create a performance based on the novella „The Judgement“ for the upcoming Kafka year. It was an attempt to come together virtually via the Internet, as we didn’t have the opportunity to meet in one place. That’s where the project failed. There was no continuity, working „as time allowed“ led to nothing, there was a lack of input to select accurately from the jungle of possibilities and allow the whole thing to grow.

Musically, I think it was a success. The musicians met for rehearsals without further ado and developed very interesting timbres and rhythms, lively and dramatic arrangements for the scenes in the novel.

The artist, alone in his studio, struggled with his pictures, apparently discarded more than he created and, disconnected from the creative boost of the musicians, was unable to follow the Kafkaesque arc of suspense throughout the entire novella, even though the music was accessible to him. It therefore remained piecemeal and yet it is not uninteresting. Watch it and decide for yourself.

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