| SOT: Sources of Time: Zeitquellen
Kunsttempel, Kassel , May 15 to June 21, 2002 .
“KasselKultur 2002, Stadtprogramm im documenta-Jahr”
An exhibition of my watercolor landscape drawings was placed in the context of a project exploring the role of bodily presence, time, and reflective conversation in a developing relation between artwork and viewers. The day before the opening, A SAW exhibition was held with one drawing, artifacts of which, including recorded ambient sound and the cluttered dinner table, remained to form an installation as part of the five week long exhibition. Each of the exhibited drawings was presented standing on a table of its own, representing an island of time, an island that would grow as a relation developed. The exhibition was closed by an informal forum, or “brainstorm”, conducted by an invited core group of philosophers, art critics, concrete poets, curators, and artists all focusing on the significance of embodiment and personal identity, or the absence of it, in art work.
Participants included, besides the artist: Friedrich Block, literary theorist, concrete poet, curator, Kassel ; Marianne Eigenheer, artist, professor, Stuttgart/Basel ; Paul Groot, art critic, curator, artist , Amsterdam; Christine Koenigs, artist , Amsterdam ; Henk Oosterling, philosopher , professor, Rotterdam; Herman Gabling, artist, docent, curator, Amsterdam ; Benjamin Meyer-Krahmer, literature and art historian, art critic, curator , Berlin; Wolfram DER Spyra, musician, digital composer, performance artist , Kassel; and Stefan Strauss, artist, Amsterdam, among others .
The conceptual deconstruction and polymorphic recombination of art forms, facilitated by digitalization, has steadily moved to include the life form of the artist and viewer, transmitting contemporary uncertainties about the cohesiveness of individual personality, and the nature of its embodiment. The project became a search for processes generating identity under the surface of form, and for the significance of the persistence of form within human awareness. The embodied self and its analogies in art forms were the initial focus of interest in this project. Drawing and painting in relation to landscape were the home context for the thought and planning in the project. However, any development in questions of art praxis and theory proved inseparable from the question: “In what way can a woman or man be said to exist, in relation to their world, their bodies, and other persons, much less in the roles of artist or viewer in relation to artwork?” Can any answer seriously include a personal name and a specific place or time? Is a painting a useful means for exploring the possibility of being a particular person, or does our reality consist strictly of after-images of what seemed once to be the case, of which this moment is already another example? This evolution of questions imported from SAW emerged in the Sources of Time project and became explicit in the closing “Summer Solstice Brainstorm” on the 21 st of June.