Page 14 of 25

god and a decade ending with the brief and delirious ruling of acid freaks, post feminists and de-constructors of language

When I thought about the idea of god waking me (or not) I became afraid. There was a German lullaby by Brahms that my then ancient great-grandmother used to sing to me when I was really very little which ended with the words: “Tomorrow morning, if God wants so,
you will wake once again.…”  Our family life was altogether politically non-theistic, except for the great-grandmother who passed away when I was about four, but the idea of god deciding about my waking in the morning was still disconcerting. What if he did not want to? On a whim? Would I just sleep forever? Would I die? What if he plain forgot about me?

When I had asked my mother about the song she had explained to me that the lyrics dated to a time when it was understood that everything – everything – happened only with god’s consent and that these lines, by their content, did not deal primarily with the idea of god remembering to wake people or not.

I don’t know whether that explanation did much to put my anxiety to rest, I think probably not. But it certainly was with relief that one day I realized that I actively did not believe in god. That was an easy attitude to acquire in my family, by the way, and an easy attitude in that decade following the sixties, a decade ending with the brief and delirious ruling of acid freaks, post feminists and de-constructors of language which left a lasting impression on western societies and which was my intellectual parents’ undeniable contribution to a new cultural value system, a system that allowed for people like them to unfold their wings and discover entirely new horizons and ideas.  I don’t remember that we had ever attended any church service. Even wedding ceremonies in my parents’ circle of friends and family were civil ceremonies. No baptisms. Still, God remained a quaint distant relation who, after a history of misfortunes, had found asylum in old nursery rhymes and lyrics. All but forgotten and without charitable visitors, but hanging on.

My parents’ were avidly confessing atheists for many years until older age and the dawning sense of their own mortality softened their rhetoric. And yet, my childish sense of superstition, during the phase of their most decided and articulated stand on the topic, detected an ominous quality to the concept “god” and it took some years and my awakening intellect to overcome the threatening taste the fear of that forgotten but lingering god left in my mind. Maybe god explained and explored would have been easier to understand but I was pretty much left to my own devices to figure out what the idea of god stood for.  I vaguely feared god until I shed that fear pretty much like I had shed the fear of the nightly intruder eventually. Only much later did it occur to me that the elimination of god did not erase the randomness and with it the terror of the unpredictable nature of death.

shadows rising, three-dimensional drawings on acrylic panes, not quite dancing – yet

After drawing meditation for 12 nights I wasn’t ready to let go just yet. Supposedly it was George Bernard Shaw who said that every fool can undertake fasting but only a wise can break it properly – and it might as well be applied to drawing meditation. Certainly I belong into the category of the fool, not that I had doubts about this before. The mind readily plows through grooves already established – and so the last few weeks after drawing meditation ended I have still been drawing most every night – and feeling kind of empty if I didn’t for once. I am not implying that drawing practice is a vice, but it is certainly not the result of an admirable discipline either that I have been sticking to it.

Certainly the nighttime indulges my overactive mind and allows the shadows – kept at bay during the day with the sober diet my legal enterprises as an attorney  offers – the nighttime allows these shadow a freedom that seems acceptable only as I catch them in some way. Paper seemed good enough during drawing meditation – though my paintings usually find spaces on raw, un-stretched materials like coffee sacks and sail cloths, wood and metal. Maybe it was just a question of time until the drawings too revolted against paper as a traditional medium.

Also, I was looking for the third dimension of my drawing beyond the obvious addition of ink to paper which – of course – makes for a third dimensions if only one cares to look close enough. But how to make the shadows dance in the room? How allow them to leave the paper and let them emerge into space as line and shadow? The answer was simple, even quite elegant, if by no means original. For the last ten nights I have been drawing on acrylic glass panes, 12 x 25 cm each. Each one of the panes is support for one protagonist in this emerging theater of rising shadows. I am planning to hang them by nylon strings and place a light in front of them to project their moving shadows on a light surface behind. For now, I am not done drawing and I would like to try out adding larger acrylic glass panes. During the next few days I will post drawings on acylic glass panes in no specific order. Multiple images have required the title of “brain on fire – no heart” and that is what I will most likely call this series. Hope you enjoy it.

Die FDP muss neue Positionen zu gesellschaftspolitischen Themen finden oder: Immunität für Altherrenwitze?

Wenn wir politische Spitzenkandidaten genauer unter die Lupe nehmen als andere Leute, so hat das seinen guten Grund. Das Verhalten eines Spitzenkandidaten, zumal auf Bundesebene, gibt uns Aufschluss über die politische Kultur einer Partei und darüber, ob sich Wähler und Wählerinnen in dieser Kultur repräsentiert sehen und sich diese als Leitbild für ihre Gesellschaft wünschen. Die Entgleisung Brüderles war sicher kein Verbrechen, sondern eben dies: eine Entgleisung. Der Umgang der FDP mit dieser Entgleisung zeigt indes, dass es innerhalb der Partei kein Bewusstsein für den Umgang mit einem relevanten gesellschaftspolitischen Thema gibt. Ist ja vielleicht auch nicht das Anliegen dieser Partei. Dass eine Diskussion über ein solches Thema gleich als Kreuzzug bezeichnet werden sollte, leuchtet nicht ein. Es ist ebenfalls keine Zumutung aus frauenpolitischer Sicht, wenn Herr Brüderle weiter für seine Partei kandidiert. Man muss ihn ja nicht wählen. Aber dass er Immunität für seine Altherrenwitze eingeräumt bekommen sollte, scheint ein wenig weit gegriffen. Ich finde im übrigen das Foto, in dem sich Frau Leutheusser-Schnarrenberger ganz fürsorglich Herrn Brüderle zuneigt, wunderbar. Fehlt nur noch die Tasse warmer Tee. Gute Genesung dann.

Kristina Steiner, Fotografie – Gelebtes Kulturerbe Tango Argentino / Weil Pyramiden nicht tanzen

Gestern Abend war ich zu einer fantastischen Ausstellung der weit gereisten Fotografin Kristina Steiner in Hamburg eingeladen. Da es einige organisatorische Turbulenzen gab, habe ich mich gerne bereit erklärt, ein „back-up“ als Eröffnungrede für diese Ausstellung bereit zu halten, das natürlich nicht mit dem Charme und dem Feinsinn des argentinischen Botschafters konkurrieren möchte (und könnte), der dann – wie gehofft – die Ausstellung stimmungsvoll und angemessen eröffnen konnte. Also, dieses ist der Text, dem die Anwesenden so gerade entkommen sind. Ganz aufrichtig, in der mündlichen Version wäre das eine oder andere entfallen, um die Geduld der Zuhörer nicht zu erschöpfen, zumal die großformatigen Bilder ja für sich sprachen. Nicht entfallen wäre der Hinweis auf die künstlerische Kooperation zwischen der Autorin Liesbeth Meyer mit Kristina Steiner:

Tina Steiner Austellungseröffnung

Ausstellung im Local eV, Max-Brauer-Allee 207, Hamburg, 31.01.-04.02.2013

 

page 176 – still in the library

I took out my small compact powder out of my jacket pocket. I clipped it open and looked into the little mirror in the lid. My face glowed sickly pale under the fluorescent lights. Winter pale.  I clipped the lid down, got up from my chair and stepped into U – Z. As I had expected, there was no one there. Velasquez, Varese and The Venetian School, gigantic volumes, with soft, yellow pages lingered pompously yet with a limp attitude between smaller books, waiting to be released from the boredom of their shelf lives. This is what immortality means, I thought, sitting on a shelf as an afterthought to your own life. Maybe to be lifted down every few years to be perused briefly for some kids’ art assignment.  I touched the laminated, slightly deformed backs with my fingers. Books do not endure lamination well, a laminated book resembles a plastic covered sofa. One cannot enjoy it. I apologized to the volumes that were sighing with age and discontent …

I have been working on this novel for a while now. There are passages that I really love, snippets, impressions that convey the atmosphere I want to create. There is also, almost surprisingly, some real plot (unusual for me) and a couple of protagonists I can vividly picture like I can picture friends. The novel could be read as science fiction – or it could be an account of a delusion. I don’t quite know which one it is, but so far it could coherently be read as either and it will depend on the conclusion to point in one direction or the other. Any kind of science fiction could of course be an account of the protagonist’s delusions if one chose to read it like that. This is one reason I chose the genre for this particular coming-of-age story in the first place. Another one is that I have been craving for a playing field for my interest in ephemeral science and have been having a ball researching and reading up on all kinds of science projects with marginal news interest from marine bioluminescence to quantum physics to astronomy.

 

Library, U – Z / another excerpt

I stared at the girl. She stared back, then, inexplicably, she smiled regretfully, rose out of her chair and smoothly walked over to the bookshelves, turned the corner and was immediately out of sight. Before I could follow her into art books U – Z and ask her to wait, I heard voices. Two elderly women were approaching us through the middle aisle. One of them held a library catalogue card and they both scanned the shelves. “Agnes, Denes, D, don’t think we will find anything here, Marie. Might just as well look for Leon Levinstein, L. Won’t find anything on him either, I bet. It’s all van Gogh and Monet and Renoir, coffeetable stuff. We will have to go to the New York Public Library for Agnes Denes, I tell you.”  Marie grunted. “Now, “ she admonished her friend “we will not know until we look, will we? These libraries sometimes are better than their reputation. Librarians are strange people, and they are in charge. “ The ladies turned corners at “D – H”. Their voices were swallowed by the books. It was too late to try and follow the girl into U – Z.

12 nights – a favorite drawing

IMG_5366If I was to choose one drawing that I liked particularly in the flood of drawings of those nights it would have to be this pretty simple one. There were some much more sophisticated pieces, but this one, conceived towards the end of the 12 nights, is playful and relaxed in a way that convinced me that in the end there was a point to my practice. I wish I could hold on to that for a while longer, at least when I am drawing.

12 nights – more drawings …

 

 

IMG_5358 IMG_5359 IMG_5360 IMG_5362 IMG_5365 IMG_5366 IMG_5367 IMG_5368 IMG_5370 IMG_5371

 

I guess my illustrations to some degree could either be read as a successful attempt to ban those thoughts that are accosting us when we try to engage in meditation by giving them form, or as a document of failure because all those thoughts that in meditation are to be let through were instead allowed to manifest themselves in a permanent form. One of the amazing aspects of art is surely that is demonstrates that our mind is always, ALWAYS, generating images and thoughts unless we dedicate some time to some sensual deprivation and allow the void to fill the crowded space of our anxious minds. As an artist I live by generating images, not necessarily by letting go of them. And yet there is a peaceful, non-goal oriented quality to these drawings and I can conjure up the spirit of those nights just by looking at them.

Plinius, the cat

And Plinius. The cat. Plinius was on my side. You can’t bend a cat. You can’t make a perfect copy of a cat. In his own way, Plinius was less predictable than the most extravagant human could possibly be. Starting with his smell. Yes, he smelled like cat, but not like any old cat. He smelled specifically like Plinius. I have had plenty of cats all through my grown up life but not one of them has ever smelled anything like him. If it is true that we are normally not very good at remembering smells (and though we have invented devices to record and play back actual sound and images we have never invented any automaton that would – on request – conjure up a specific smell.), but that rule does not include remembering Plinius’ smell. Equal part cat litter, dust, fur and … realness. I don’t even have a comparison, a word for that smell, but I can say “Plinius” and I can actually smell him. He was very present and himself until he just wasn’t anymore, until, one day, without proper good-byes, he disappeared.