Die Schwierigkeit des Zentaurs beim vom Pferd steigen by Gerz, Jochen - 1976
by Gerz, Jochen
Die Schwierigkeit des Zentaurs beim vom Pferd steigen
by Gerz, Jochen
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Cloth clam shell box containing 6 original photographs (12, 7 x 17,7 cm) mounted on heavy boards, + one original handwritten text in mirror writing, signed and dated + one colophon page, numbered and signed in pen by Gerz in mirror writing also. Each photograph is hand painted and numbered in mirror writing. Clam shell box lightly soiled.
- First edition. One of XXV numbered and signed copies with 6 original hand painted and numbered photographs + one handwritten text. In the handwritten text in mirror writing Gerz answers a letter. The answer is different in each of the 30 copies.
Here Gerz writes: 22/10/76 Am liebsten wäre mir, wenn schon dein Brief vorhanden ist und du es bist, die ihm schrieb, dass das worauf er sich bezieht, nicht existiere. Denn es würde mich viel weniger stören, dass dein Brief von nichts handle als von etwas, dass ausserhalb des Briefs ist und ihm nichts verdankt. Diese scheinbare Verbindung zwischen dem Brief und seinen Gegenstand ist ja pure Illusion. Die Sprache erträgt nicht, einen anderen Gegenstand zu haben als sich selbst.
Ist sie nicht gerade deshalb unsere Sprache? Denn mir selbst geht es nicht anders, wir sin da am kommunikativsten und sozialsten, wo wir nichts beinhalten als uns selbst. Als ob wir den Wahl hätten! So ist es das kapitale Misverständnis, das ein Kunstwerk auslösen kann, wenn man sich damit abgibt und ihm mit Verstandnis, Passion, Kritik zu leibe rückt. Dabei übergeht man ganz dessen Eigenschaften und Bedingungen und negiert zuerst einmal, das überhaupt Kunst ist. Gerade die Produktion von Kunst zielt ja auf die Vermeidung dessen ab, was man oft als Mimetik bezeichnet, was aber selbst nur eine Kopie der Mimetik ist, Widergabe des Zwangs kopieren zu müssen. Eine solche Arbeit schafft eine Schöpfung, d.h. eine Abbild, doch ist das Abbild das Einzige, Unike, in einen Total ungeschaffenen Welt, in der nichts über sich selbst hinausgeht. Deshalb ist auch das Kunstwerk in Wirklichkeit eine immer misratenes Abbild, insofern als sobald es zustande kommt es keine Ruckschlüsse mehr auf seinen Ursprung, den Künstler, zulässt. Wie ein Portrait, auf dem sich der Portraitierte nicht widererkennt. Die missratene Kopie ist Kunst, den Rest ist leben und Illusion. Jochen Gerz (....)
I would prefer if your letter is already there and it is you who wrote to him that what he is referring to does not exist. Because it would bother me much less that your letter is about nothing than something that is outside the letter and owes nothing to it. This apparent connection between the letter and its subject is pure illusion. Language cannot stand having an object other than itself.
Isn't it precisely for this reason that it is our language? Because I feel no different, we are most communicative and social where we contain nothing but ourselves. As if we had a choice! So it is the capital misunderstanding that a work of art can trigger if you deal with it and tackle it with understanding, passion, and criticism. In doing so, one completely ignores its properties and conditions and first of all negates that this is art at all. The production of art in particular aims to avoid what is often referred to as mimetics, which is itself only a copy of mimetics, the reproduction of the compulsion to copy. Such a work creates a creation, i.e. an image, but the image is the only thing, unique, in a totally uncreated world in which nothing goes beyond itself. That is why the work of art is in reality an always misrepresented image, insofar as as soon as it comes about it no longer allows any conclusions to be drawn about its origin, the artist. Like a portrait in which the person portrayed does not recognize himself. The failed copy is art, the rest is life and illusion. Jochen Gerz (....)
Gerz made for the 37th Venice Biennale in 1979 the installation 'Die Schwierigkeit des Zentaurs beim vom Pferd steigen', later reconstructed in the Landesmuseum Wiesbaden.
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- Edition First
- Publisher Kunstraum
- Place of Publication Munchen
- Date Published 1976
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Sixe Idyllia, chosen out of the Sicilian poet Theocritus and translated into English verse.
by GROSS, Anthony; THEOCRITUS.
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London, United Kingdom
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The Revelation of St John the Divine
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Sea Change.
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Mystery Girls' Circus & College of Conundrum: Route Book / Season of 1991.
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Kaddish. Deluxe signed, limited edition with print
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