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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