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)
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
Heinz Hugel, photo from the year 2000
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.
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!
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