Monthly Archives: February 2014

„Art Touches Art – 7“

Heinz Hugel

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„one hour“

 Installation of Heinz Hugel: On a square base, 2 m x 2 m, 4 tin buckets with found pieces (each one on of the square corners), marker (wood + iron bar) (in the center of the base),  2000, Bremen (Germany)

Prologue

 All attentiveness had been for all that what had been surrounding them: For the plants, woods, and animals (in the water, the country and in the air), for the energies of all phenomenon of nature, such as the fire for instance; the weather, or in particular the wind. Above all, the sky is spanning itself with all its stars…

The Native Americans had built themselves their own conception of the world by an exact observation and by their intuitively feeling for sure: Like in the above, so in the below – and reversed; like in the tiny, so in the great – and reversed…

Many, many information of their immediate environment they had processed and formed to a great coherent one, to their conception of their world.

Though there had been differences in questions of detail of tribe to tribe, the great whole of the observable one yet had been their common denominator.

 So it had behaved also at details to the four directions: The statements concerning it varied from tribe to tribe, but all tribes had emphasized its importance for their complete life. Therefore their particular attentiveness had been directed to them, the four directions.

To whom or what today’s person give attentention? Is it still known: Attentiveness?  Renate Hugel

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Heinz Hugel, photo from the year 2000

„one hour“

Installation of Heinz Hugel from the year 2000

 During the last weeks before the beginning of the symposium Heinz Hugel (in the following called H. H.) had got quite spontaneously his idea for his installation – in all details in front of his eyes! And he immediately started collecting all materials required for it. – – – His basic idea had been the following: Within the symposium-time, he had planned to go on four – each one another succeeding – days during one hour (“one hour”). The gallery “pro art” should be the starting point. He wanted to start and go one hour from there to the north, the next day to the south etc. For each direction, he had taken with him a tin bucket along. On his hourly walk he had gathered into this bucket what other people had carelessly thrown on the street or the sidewalk. And, he had found much in every direction! All the buckets had been filled well with garbage!  Assembled on narrow room had been paper, signposts, plastic ribbons, rope, wire, metal, an empty beer can, wood pieces, electric cables, plastic covers and others, there.

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The four tin buckets and its contents in close-up (without paving stones)

Heinz Hugel presented his installation on a square base. Exactly on the center of this square (there where the imaginary lines cross for showing the directions), he had built a marking. This consists of a wooden base which supports a steel bar. H. H. had attached a semicircular wooden plate at the upper end of this bar and had stuck various lost things at it. The starting point for the four gone ways is therefore marked: It represents the gallery as the initial point on the one hand, on the other hand the beginning of the way into all four directions. These ways lead towards the four corners of the square base plate. There, H. H. had put the tin buckets down and partly had let fall out the contents. – – – In addition, a paving-stone lies on every invisible line of the four ways still. This is an indication that H. H. had had the comfort to walk on surfaced ways for going along the distances (to the four directions). Whereas, the Indian people first had been forced to cut or beat their ways free laboriously!

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Look up from the gallery (at the upper level):„one hour“ – – –  Installation of H. H.

On a square base, 2 m x 2 m / 2000, Bremen (Germany)

The photo above shows clearly the geometry in the order of the installation “one hour”. This reflects our scientific intellect of today. – – – The American Natives had found the desired direction by watching sky and earth exactly. Their know-how gave them many clues to orientation. Their thinking had arisen by searching the ways with their body and their will connected with old and new information. This had given behavior safety and had led their thoughts to an ‘overall view‘: A process which had got more and more subtly differentiated within generations, carried by the already mentioned symbolic intellect. And their sinuous and branched paths led them out from the chaos of their environment. – – – However, the straight line had been foreign to them… Because: it (the straight line) abstracts and creates models of thought. Those intrude on the energy processes of nature and produce new worlds. This had led to our “universe” of today. Nature had not played a role at all in this (still no too long time ago)! The installation “one hour” in this respect shows our intellect, scientifically stamped, and its other sides – symbolically in the tiny.…

To show this symbolism in the tiny, Heinz Hugel had focused his attention four times an hour to those things, which had been thrown away by other ones – therefore had left them to the street and the sight for other people: A throwing away carelessly into lack of thought.… – – –  Like on a tray H. H. had presented this fact now; with that he had moved this result into the focus of consideration – a request to make thoughts to oneself about this?

My thoughts to this had inspired me to the “Prologue” which I had put in front of my interpretation. According to this prologue I can say also here: “Like in the tiny, so in the great”. The collected and presented waste stands for me symbolically for all other waste in the water, on the country and in the air. Many different things crowd even in the universe meanwhile, partly with considerable extents. – – – The raised of nature once had inspired to respect great meaning connections and those of sense! The installation of Heinz Hugel may be a note to the lack of attentiveness for the small and great connections in our “modern” society of today. Interpretation: Renate Hugel

„Art Touches Art – 6“

Margaret Hetrick

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Margaret Hetrick: „In Flight“ – – – It’s where we were, it’s where we are –   Collage on paper, 71,5 x 50,5 cm / 2000

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Margaret Hetrick gives a speech for the exhibition opening at the end of the symposium in the year 2000

For the time of our common symposium, Margaret Hetrick had prepared herself for that topic which had personally touched her very much in Texas already since her youth: “The Flight”. For the realization of her ideas she had chosen the collage – technology. During the preparation time (before the arriving of our guests) she had collected much pictorial material from all sorts of magazines for this. And we always saw her selecting motives from her fund and cutting out them very meticulously.… – – –  With these means, available to her, Margaret Hetrick created an “imaginary room”. In its center, the topic “Flight” can be read in big letters. The attention of the observer is split by several symbolically inserted map fragments at the same time. They symbolize the forced being away in the past to all directions (see “Compass Card” in the picture above on the right). The eyes of the observer go from one life center to the next one. With that the room lacks a center which would signal a “being arrived” to our looks – however there is no possibility of arriving anywhere! This associated “being away” had been life reality for the persons affected, though!

By going into the room described above, all the associations which arouse to the observer by inserted words scattered in him are accompanying him: “Explore!”, “Who’s afraid of flying?”, “Go! Don’t worry!”, “Afraid of flying?” or “Escape!”. As an observer one would like to escape spontaneously from the cynical and terrible statements, refusing explaining to one self with that. With the concerned American Natives these statements let arise associations which cause tear up old wounds again. With that, the “level of the presence”, in which we have stayed until now, has got a rip and discloses the “past”: In this room behind – this one of the “past” -, we do not see any historical scene. We do not see how the families had lived or do not hear their conversations either under each other – for example. Rather we look “virtually” into the “blue”, however, can decode word fragments: “Frequent” (It concerned all tribes and everybody?) or “tal” – “tale?” (The trauma had been preserved with words for posterity?) for example.…

We must notice that the past has been extinguished almost totally: Plots of the daily life, the language, traditions like also ritual actions and religious ideas. For, it had been prevented with predominant success that parents could pass their knowledge on to their children. The “hard disk” almost had been deleted. That, what is still present, is the trauma which is going to be passed on by generation to generation so long until it will has been processed. Margaret Hetrick had expressed this state of emptiness, with the color “blue”. And what “comes up” into the conscious within this emptiness are the words which cause bitter associations, so that those associations are passed  up to the “level of the presence” with violence – as described on the above.…

Apart from the word – shreds there is still is a refugee group (below on the left in the picture) at the “level of the presence”; these persons had apparently been forced to flee. They are not Indian people, though. On the other side of the picture, the right one, a single female person is making herself on the way. Is she also on the flight? Her posture betrays it: She is in an introverted state of feeling. Somebody who is on the flight for certain is not so quiet and balanced; she rather would be in a condition of utmost despair.… – – – One may say: The corresponding photographic materials had been missing. The young woman reminds me, however, in her pose to the prevailing mood of Margaret Hetrick – not only during working on her collage. Therefore it is for me as if Margaret herself enters this “room of the presence”! With that her posture like also her attitude of mind are revealing “understanding and sympathy”. And I therefore see her request to us in it to think about the great sorrow of the persons affected as outsiders. I actually feel the work of Margaret Hetrick as a whole as an attempt to transport empathy: She opens for the observer up the possibility of opening himself to a readiness for the empathy,  for feeling too and for understanding.… Interpretation: Renate Hugel

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Margaret Hetrick during the arrangement of her collage „In Flight“, Bremen, 2000

Up to the year 2000, Margaret Hetrick still lived in Germany where she had felt already as good as “at home” after approx. 20 years. Nevertheless, she had already extended her feelers because she had been planning to return to her native country Texas. And this circumstance had led to this that Margaret Hetrick had been able to give a chance to a spontaneous brainwave of mine for becoming reality. I did already describe in my contribution “Chronology of the Past History” about how it had come to that (This contribution, I have also posted under “Art Touches Art” and have put it in front of the numbered contributions of “Art Touches Art”.)

Due to the events I had described under “Chronology of the Past History”, Margaret Hetrick had become the organizer of our symposium. She had therefore felt responsible that our guests could come in case of questions of every kind to her. And this task she had imposed to herself was aware of her conscientiously. With that, Margaret had been the link between our Indian guests and us.…

Since the year 2000, Margaret Hetrick is again living in Texas her original native country. She is working as a journalist there and also takes a photograph of much. In the course of the years she had some photo – exhibitions presented. Renate Hugel