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 BERLINER - ENGSetting a boundary between modernism and postmodernism can occur when art transforms its way of appearing and existing in the world, and the artistic gesture once again becomes a causative activity, behind which there stands a thought, a conception, and a hard-to-define idea of art. This moment appears when there takes place a move from the object taken over from the world of life and raised to the rank of a work of art, an aesthetic object deprived of its utilitarian value and possessing an artistic value, to an object which becomes a work of art trough the gesture of the artist, which is not annexed to the realm of art, but is transferred from the realm of art, to the realm of external reality.It is exactly this type of artistic activity that characterises Roland Schefferski. While putting the endurability of art to a conceptual test, Schefferski at the same time brings art to the role of a trace and the effect of the activity of artistic gesture. The artists oscillation between art and life takes on here the character of a battle about the idea of art, about the transfer of thinking from art as a work of art to art as an idea, which potentially resides in all things, which through the touch of an artist takes on the character of a work of art. This artistic gesture, going back to Duchamps first gesture, reverses at the threshold of postmodernist art and at the end of the avant-gardes age the situation, in which art gathers to itself things and objects, making museum exhibits of them. Schefferski does something completely the opposite, he gives art to life, and characterises the object by giving it back the idea or the concept of art. As he himself suggests, I am personally interested in the possibility of creating such an artistic object which does not lose its initial function. Linking in one a utilitarian object and a work of art he does not violate the concept of art, or the purpose of the object. Nothing changes the object the outline of the shadow on the jacket does not disturb its functional nature, it does not have to be hung on the wall in order to motivate the drawing. In this way Schefferskiss Berliners differs from Joseph Beuyss Filzanzug. Now, at the beginning of the century, the artist gives the work of art to the surrounding everyday reality, places it in a space annexed by other objects. He uproots them, making from the work of art an object like those which surrounds us but yet different. His thinking recalls the words of Baudrillard: There is no privileged object „The work of art forms its own space The visions of an artist do not present but simulate while manipulation refers to a world deprived of references, a world in which all references have died out. Art forms not only visions, but their meanings also it "gives sense" and identity to something deprived of sense an identity.” 1That which by Roland Schefferski is a form of artistic gesture can at the same time be read as an expression of the humility of art. Art for the fist time returns to life in such a way that is does not interfere with it, does not change it and does not try to do so, but rather takes its "own" space and waits until someone notices it. This is everyday reality "stamped" with the gesture of the artist, from which it is not possible to become free. This is an attitude either of faith in the receiver or in the strength of art which speaks for itself.Beata Frydryczak THE AUDIENCE WEARS THE MESSAGE The situation of post avant-garde art seems to be a specific one, because it rejects everything that has accompanied it to date apart from art, while questions which up to now had been current have lost their sense in postmodernism. After avant-garde art, only art has remained, after the avant-garde idea only the idea (the sublime, as Lyotard would say) but what is left for the work of art, particularly after Duchamps achievements? The artistic gesture replies Roland Schefferski. ROLAND SCHEFFERSKIBERLINERS INTERVENTUR DE EN PL BIOGRAPHYPROJECTSPUBLICATIONSGALLERYCONTACT PLAY VIDEO Um alle Inhalte sehen zu können, benötigen Sie den aktuellen Adobe Flash Player. |