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 (2)

That is why Schefferski sometimes seems to act like an experienced photographer, who slows down the snapshot, and in a fraction of a second record some fragment of life, some “here and now”, brought down to emotions, thoughts, reactions, sometimes builds rooms soaked through with nostalgia, or “illuminates” a shadow, drawing a line around it and with its help shows the essence of the spiritual presence of a person. This way of acting comes close to the idea of sublimation, brought up to date by Jean Francois Lyotard. The atmosphere of unexpressed presence, making the inexpressibly present, finds its confirmation in this sublimation. As Lyotard says: The inexpressible does not exists ”somewhere else”, in other words, in another time, but in that which happens. Not sooner or later, not at some time, but as the here and now it happens, and this is the picture. Schefferski, trying to show in his art this unique on every occasion concrete “presence”, sends us away to something else, something which can most simply be called values, which today in postmodernism can only find shelter in art.Consistency in the way of thinking artistically, exploitation of the same themes, sounding the same areas, means that one can look at Schefferskis art like at a kind of private album, into which are ”stuck” scraps of events and emotions. Such work is the already-mentioned environment A Room, which refers to the life of the concrete person. Developing the thus understood “personal art” Schefferski encloses the privacy of people in the form of art, and in a discreet way describes their being, allowing us to recognise the mood accompanying the works, to identify with it and to discover ourselves within it. In a very strange way the artist does not invade the sphere of privacy, but rather transforms the privacy of people, allowing us a la Gadamer to conduct an “honest dialogue” with art.There is however something more here, not just an attempt to enter through art into ones own world, anothers world, an “Other” one, but there is also an attempt to capture it in its ephemerality; it is like trying to capture memories, which are not able to put into an album with the photographs, but all we can do is to store them in the memory. This leaning over a person, this inquiring into his world, comes close to Levinass thought about the Other, the “opening” to his face. In trying to find a person Schefferski “touches” him with his art, however this is understood. In this area of art the search for truth means the penetration of human desires, habits, emotions, weaknesses. Subjectivity therefore appears here in pride of place.Schefferskis work, which places him in Lyotards project of the aesthetics of the sublime, at the same time, transcends him. His spatial arrangements, in the framework of his own individuality creating” small narratives” and being them at the same time, become a kind of “micro cosmos”, which creates its own space, values, climate, senses. Admittedly according to Lyotard such works do not aspire to universalisation, and do not create objective values, but they do express something, and do so within the framework of their own individuality (subjectivity). This situation allows however everything which is aesthetic to remain in the power of the individual both the one which creates the works and the one which receives it. But creation is at the same time a process directing oneself to “somebody”. In this sense, as Lyotard suggests, the artist and the receiver are capable of communicating through the work of art, becoming equal partners in a communicative situation, in which the work has become a pure medium. The subjectivity of the artist gets through to the subjectivity of the receiver: in this way and on these grounds the work of art becomes a private experience. Schefferskis work transcends the aesthetics of the sublime to the extent that they not only appear as a form of question about art, about the work of art, the possibility of experimenting as Lyotard says in the search for categories and aesthetic rules possible to be established ex post factum. The moment of transcending occurs when the artist follows the traces of art inquires into the space of life, in order to examine the relations between art and life.Beata Frydryczak

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ROLAND SCHEFFERSKIA ROOM

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