Installations Jochen Gerz

1 installations

1.1 exit – materials dachau project (materialien zum dachau-projekt, 1972/74)
1.2 live/life (leben, 1974)
1.3 centaur’s difficulty when dismounting horse (die schwierigkeit des zentaurs beim vom pferd steigen, 1976)
1.4 trans-sib. prospect (der transsib.-prospekt, 1977)
1.5 news news (ashes ashes) (1995)

installations

in 1970s , 80s, gerz created many installations european north american , australian museums , public galleries deal museum context itself. among them series of ten “greek pieces” (1975–78), allude over-exposure of humanism greek mythology, whereas series of 9 “kulchur pieces” followed (after ezra pound’s “on kulchur”) 1978 1984 satirise “multinational” nature of western culture (colonialism).

exit – materials dachau project (materialien zum dachau-projekt, 1972/74)

the 1972/4 installation “exit – materials dachau project” consists of 2 rows of tables , chairs illuminated weak light bulbs. hear runner breathing, rattling of electric typewriters, , @ intervals sound of camera shutter. on each table lies copy of same ring binder holding 50 photographs taken during visit former dachau concentration camp , documenting language used in museum. compendium of instruction panels, guideposts , warning signs traces emotional , mental circuit visitor memorial must traverse, exposing unavoidable continuity in language between concentration camp , museum.

“if today convenience’s sake museum keyword ‘exit’ hangs on doors once led directly death,” says gottfried knapp, “then thoughtless analogy reference systems, distorted through discrepancy, takes on macabre dimension.” controversial entries in guestbooks of badischer kunstverein in karlsruhe , lenbachhaus in munich attest viewers’ intense , uneasy reactions “exit” in 1970s.

live/life (leben, 1974)

in 1974 jochen gerz wrote word “leben” (to live) chalk 7 hours, filling floor of exhibition space (art museum bochum). wanting decipher text installed on front wall, had cross space , thereby tread on writing on floor, gradually blurred , deleted visitors’ steps. in order view work whole, audience had destroy it. when work realised again @ new york guggenheim museum soho in 1998, marc bormand explained in exhibition catalogue: “the medium of chalk means erasure of writing inherent , everlastingness entirely absent.”

the centaur’s difficulty when dismounting horse (die schwierigkeit des zentaurs beim vom pferd steigen, 1976)

one of jochen gerz’s important installations featured @ 37th venice biennale alongside joseph beuys , reiner ruthenbeck in german pavillon. nine-metre-high , seven-metre-long centaur, wood structure covered in opaque photographic paint, divided wall between 2 spaces. larger section had flap near floor through artist enter sculpture, spent several days. eponymous original manuscript on work, in mirror writing, displayed on 6 desks.

the trans-sib. prospect (der transsib.-prospekt, 1977)

gerz’s work documenta 6 likewise consisted of performance without audience. during 16-day journey moscow kabarovsk , on trans-siberian railway, train window remained shuttered, nothing outside seen compartment. gerz took along slate (60 x 60 cm) every day of trip, on rested feet. other evidence of journey destroyed. @ 1977 documenta in kassel, room set 16 chairs, before each of them slate footprints. “lived time cannot exhibited”. whether trip took place or concept led directly installation remains open question viewer. work aims @ reaching limits of conceptual art.

news news (ashes ashes) (1995)

upon entering darkened room, gaze falls on black “picture”, which, surrounded vibrating light, appears float in front of wall. image made of 16 monitors arranged compact rectangular block @ distance of 30 centimetres wall – screens facing wall. crackling sound audible, automatically suggesting fire , threat. venture peek behind tableau note monitors show 16 lighted fireplaces. banality of domestic idyll comes disappointment, contrasting sharply spectacle of fascination , horror generated concealment of reality.