INTRO - D/E/PL STARTSEITE-D MONEY IS NOT EVERYTHING (D) STARTSEITE-ENG STARTSEITE-PL BIOGRAFIE-D Meta-Weiß BIOGRAFIE-D (2) BIOGRAFIE- ENG BIOGRAFIE- ENG (2) BIOGRAFIE- ENG (3) BIOGRAFIE-PL BIOGRAFIE-PL (2) BIOGRAFIE-PL (3) PROJEKTE - D PROJEKTE - ENG PROJEKTE - PL PUBLIKATIONEN I - D PUBLIKATIONEN I - PL PUBLIKATIONEN IIa - D PUBLIKATIONEN IIa - PL PUBLIKATIONEN IIb - D PUBLIKATIONEN IIb - PL PUBLIKATIONEN III - D PUBLIKATIONEN III - PL KONTAKT/IMPRESSUM - D KONTAKT/IMPRESSUM - PL HAFTUNGSAUSSCHLUSS HAFTUNGSAUSSCHLUSS - ENG AGB A ROOM - ENG A ROOM - ENG (2) AUSGELÖSCHTE BILDER - D AUSGELÖSCHTE BILDER - PL BERLINER - D BERLINER - PL BERLINER - ENG BERLINER VIDEO BESTANDSAUFNAHME - D BESTANDSAUFNAHME - D (2) BESTANDSAUFNAHME - D (3) BESTANDSAUFNAHME - D (4) BESTANDSAUFNAHME - D (5) BESTANDSAUFNAHME - PL BESTANDSAUFNAHME - PL (2) BESTANDSAUFNAHME - PL (3) BESTANDSAUFNAHME - PL (4) BESTANDSAUFNAHME - PL (5) BILDERTAUSCH - D DAS BETRIFFT DICH - D DAS BETRIFFT DICH - ENG DAS BETRIFFT DICH - PL DAS BETRIFFT DICH VIDEO - D ENKLAVE - D FRAGMENTATION OF MEMORY - D FRAGMENTATION OF MEMORY - PL FRAGMENTATION OF MEMORY - PL (2) FRAGMENTATION OF MEMORY - PL (3) GESPRÄCH IM GRÜNEN BEREICH MACH DIR DEIN EIGENES BILD MEDIATIONS - ENG NOT JUST THE BODY - D REKONSTRUKTION - D RETURN TO SENDER - D RETURN TO SENDER VIDEO - D THEY'VE JUST PULLED OVER THEY'VE JUST PULLED OVER - ENG UNSER GARTEN - D UNSER GARTEN VIDEO - D VIER TAGE LINZ - D VERKAUFSGALERIE - D VERK. Empty Images Unikate - D VERK. Empty Images 2001 - D WAS MACHT EIN TANNENBAUM ALLEIN MACHT - PL VERK. Georgi1 - D VERK. Georgi2 - D VERK. Georgi3 - D VERK. Georgi4 - D VERK. Georgi5 - D VERK. Georgi5b - D VERK. Georgi6 - D 

A ROOM - ENG

The anonymity written into the title of the realisation A Room forms a sharp dissonance between the privacy of the women who is its owner and her world, but it is also a code allowing us to read artistic thoughts behind the work of the artist; on the one hand it indicates something beyond art, something which art draws into its own area, on the other hand it asks a question about art itself, about its essence and force. One could get the impression that Schefferskis works, through their aesthetics, stand on the border between art and life. But it is only when we look into them that we realise that the artist, asking himself this type of question, is looking for the answers, paradoxically it may seem, in Lebenswelt, an area which until now art had tried in various ways, most often with the impetus appropriate to the avant-garde, to force. Schefferski however, has not made the mistake of his predecessors he enters the world whole, it could be said, walking on his toes so as not to arouse the interest of life and not to irritate art itself leaving a quiet and barely noticed trace, some scratch or crack caused by one gesture, left on the coat hanger, thrown, like in mud, photographs immersed in porcelain, characterised with the help of someones profile sewn on the wardrobe, being left to chance , like the light of the sun, whose shadows plays on the curtains, or the hand of a chance person interfering with the curtain, as we know, each work of art finds itself at the same time in two worlds: in real space, as an object, and in the aesthetic world, as a spiritual content, going beyond that reality. So from the point of view of traditional art, A Room, like other “rooms” arranged by Schefferski, should a form of museum office. On the other hand, transferred into the private sphere they should become “pleasant aesthetic objects”, serving a decorative function, threatened with isolation, and thus the loss of something essential. As Hannah Arent says: Works of art enclosed in private possession cannot fully confirm their internal importance. (Hannah Arendt, Between Past and Future: Six exercises in political thought. Publisher: Fundacja Aletheia, Warsaw 1994). This is not so however and none of these variants stands behind the idea of the artist: A Room loses nothing of its dwelling function, life still goes on in the flat. This can best be summed up in one statement: Schefferskis work sinks into the space of life. They do not so much become its indivisible element, as the element itself becomes characterised aesthetically. Both worlds: that of our everyday life and that of aesthetics, which assumes an eliminating function, are not their own quotations they coexist in the same place and at the same time. On the line of art and life there is no tension there are no “sparks”.A Room, Regained from Memory and Berliner Room these are forms recalling to mind Dutch painting with its climate of bourgeois houses, quiet and peaceful homes transferred onto canvas. Schefferski creates paintings of installations and spatial arrangements, which perfectly show the atmosphere of everyday life. This is the world of average, common man, who lives out his own cares, and joys, whose existence here and now often becomes reduced to the memories he leaves behind: some photographs, his wardrobe scraps of memories of him, or scraps of his memory. But there is an idea hidden behind Schefferskis thinking the idea of a work of art referring to a real, concrete and current life situation, which is presented in his work Regula and Rogue: Wanting to integrate my work with the environment, in this case the interior of a home I superimposed the contours of the couples silhouettes on a two-piece, solid-colour fabric curtain. The silhouettes are embroidered symmetrically on the inner edges of both parts of the curtain. The function of the object conveys the particular daily relations of the symbolic couples life. In the morning, the curtains are drawn to opposite sides, and the couple leave to perform their daily tasks. I the evening, they meet again at home symbolically as well as in reality as the curtain halves are drawn together. (Roland Schefferski, A record of discarded reality: II. International Festival of Experimental Art and Performance, Publisher: Central Exhibition Hall-Manege, St. Petersburg 1998).Schefferskis work fits into narrow gap between art and life, a gap which the artist himself can feel; like a Filipino doctor sinking his hands into the flesh of his patient, Schefferski with one gesture transforms what is ordinary into the artistic, creating a space between two spheres: life and art. His work does not aim to melt one into the other, or to allow one sphere to dominate the other, but it tries to characterise both, and, in so doing, to change their quality. Art and non-artistic reality meet on the same level, as alternately the source and the carrier of meanings.3, says Bauman, as if confirming Schefferskis effort. >> (2/2)

THE NARROW GAP BETWEEN ART AND LIFE

This mutual entanglement of art and life, their encroachment upon each other, the blurring of boundaries without violating them, and at the same time existing beside them these aspects most of all characterise the work of Roland Schefferski. His arrangements, irrespective of whether they are works like A Room, Regained from Memory or Berliner Room, will always be, from one side, a constant examination of the concepts and essence of art, while from the other a form of search for a space for art not cultivated, not ”paved” by the artists hand, but its 'natural' one could say context, which is closer to life and the everyday than galleries and museums.

ROLAND SCHEFFERSKIA ROOM

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