Klaus Illi
Die Zusammenarbeit mit Inga Fonar Cocos kreist um unsere Deformationen des Sehens, um die Blindheit der Sehenden.
Inga lebt und arbeitet in RamatHaSharon, Israel.
The collaboration with Inga Fonar Cocos deals with our deformations of sight, with the blindness of the seeing.
Inga is living and working in Ramat HaSharon, Israel.
Bisher wurden 4 gemeinsame Ausstellungen realisiert:
4 common exhibitions have been realized so far:
2002 Punctum Caecum, Artis' Residency Herzeliya, Israel
2003 Blindreflex, Museum Ein Harod, Israel
unSICHTbar, Galerie im Heppächer, Esslingen, Germany
2006 Blindsehen, Bellevue-Saal, Wiesbaden, Germany
Erste gemeinsame Ausstellung "Punctum Caecum", Artists' Residency Herzeliya, Israel, 2002
First cooperative exhibition "Punctum Caecum", Artists' Residency Herzeliya, Israel, 2002
left / links: Inga Fonar Cocos "Tactile Language", 91x23x3cm + 100x29,5x1,5cm, wax, wire, needles, 2001
middle / Mitte: Klaus Illi "Scratching Machine", 80x55x20cm, pneumatic and electronic components, 2002
right / rechts: Inga Fonar Cocos "X-Ray-Drawings", 70x25cm, two out of 17 drawings, graphite and oil on paper, 2001/2002
Inga Fonar Cocos "X-Ray-Drawings", 70x25cm, three out of 17 drawings, graphite and oil on paper, 2001/2002
left / links: Inga Fonar Cocos "Tactile Language", 91x23x3cm + 100x29,5x1,5cm, wax, wire, needles, 2001
right / rechts: Klaus Illi "Scratching Machine", 80x55x20cm, pneumatic and electronic components, 2002
Inga Fonar Cocos "Tactile Language", 91x23x3cm, wax, wire, needles, 2001
Inga Fonar Cocos "Tactile Language", 100x29,5x1,5cm, wax, wire, needles, 2001
Inga Fonar Cocos "The Other" (detail), 104x24,5x3cm, wax, wire, wiremash, needles, 2002
left / links: Klaus Illi "Agnosie 2", 100x180x100cm, pneumatic + electric components, blind stick,1999
middle / Mitte: Klaus Illi "Ecclesia and Synagogue", 55x50x8cm, print, liquid cristal glass plate, 2002
right / rechts: Klaus Illi "Agnosie 4", 80x120x150cm, servo pneumatic + blindstick, 2002
left / links: Inga Fonar Cocos "Seeing is Believing", 84x16x2cm, wachs, wire, wiremash, neddles, 2002
"butfellingisthetruth", as above
middle / Mitte : Klaus Illi "Ecclesia-Synagoga" - upon approaching the liquid cristal glass plate covering "Synagoga" turns milky white / bei Annäherung trübt sich das Bildfeld Synagoga so ein, dass sie nicht mehr erkennbar ist
right / rechts: Klaus Illi "Agnosie 4" moving blindstick, servo pneumatic
Klaus Illi "Ecclesia and Synagoga" (print of oil painting on wood, 2nd half of 16th century)
By coming close to the image the "synagoga" motive vanishes / beim Näherkommen verschwindet das Motivdetail "Synagoga"
By coming close to the image the "synagoga" detail vanishes / beim Näherkommen verschwindet das Motivdetail "Synagoga"
Liquid cristal glass plate, offset print from 16th cent with the motive „Living Cross with Ecclesia and Synagoga“, oil on wood, 2. half 16thcentury, in private property
Flüssigkristallglasscheibe vor Offset-Druck, Original: Tafelmalerei, Öl auf Holz, 2.Hälfte 16.JH, ehemals Kaisersaal des Hohenzollernschlosses Liebig, Privatbesitz
This motive of the two women left and right of the cross symbolizing Christianity and Judaism is originating from the non-recognition of “the saviour”, the christian “redeemer” by the jewish community. This widespread topos of the rivalry of the two religions has several variations from mild to radical anti-judaism, from competition to fight.
Synagogue is wearing the veil besides several other properties explaining the loss of her kingdom to Ecclesia, the clear “winner”, and revealing her corruptness (depravity) in general - thus, judasism is depicted as being blind .
A liquid crystal glass plate is placed about 2'' (6 cm) in front of the wall, on top of Synagoga. From a distance the glass allows to see the image behind. When a viewer approaches and wants to get closer to the image, the glass will turn opaque and all details will disappear, thus rufusing a close, analyzing look when approached.
In der Mitte dieser symmetrisch und didaktisch gestalteten Weltgerichtsszene, die die Heilsgeschichte von der Schöpfung bis zur Vollendung umfasst, steht beherrschend das Kreuz, Himmel, Erde und Hölle berührend, das in vier Arme mündet (Motiv des „lebenden Kreuzes“). Der obere Arm öffnet den Himmel, in einer Wolke über dem himmlischen Jerusalem schwebend Gottvater. Der untere Arm schleudert Hölle, Tod und Teufel tödliche Pfeile entgegen. Der rechte Kreuzesarm krönt Ecclesia, die auf dem Tetramorph heranreitet, während der linke Arm des Kreuzes der blinden, den Bockskopf tragenden, ihre Weiblichkeit betonenden Synagoga mit dem Schwert die Krone vom Haupt schlägt. Auf dem Schriftband der Ecclesia steht geschrieben: ECCLESIA GLORIOSA PER SANGUINEM CHRISTI Die Kirche ruhmreich durch das Blut Christi. Auf dem Schriftband der Synagoga steht: SYNAGOGA REPUDIATA CUM SANGUINE TAURI ET HIRCI. Synagoga zurückgewiesen mit dem Blut des Stieres und des Bockes. Während "Ecclesia" die siegreiche Kirche und Christenheit darstellt, symbolisiert die geblendete "Synagoga" das Judentum, das "mit Blindheit geschlagen" ist.
"Blindreflex", 2003
Museum Ein Harod, Israel
Shocking cleansing activity / Erschreckende Reinigungstätigkeit
Klaus Illi Catharsis Machine 10, 2003, 80x50x100cm, pneumatical and electrical components, street broom
A red street broom, manufactured by blind people, is brooming the floor, when somebody gets close. See comments below at "Catharsis".
Partial exhibition view of "Blindreflex" / partielle Ausstellungsansicht "Blindreflex"
In the background, a viewer has a close look at "Don't Look"
Don't Look, 2003, Photo on alucubond with flap, 30x20x2,5cm
A medieval doomsday image from the glass windows of the Besserer-chapel by Hans Acker, around 1430, Cathedral in Ulm, Germany.
The wide open mouth of the huge beast “Leviatan” symbolizes the gate of hell, which is going to swollow the condamned people. The mouth is filled with flames, and there is one face looking out of the flames, with wide open eyes and truly fearful - the pointed hat clearly stigmatizes the person as a medieval jew.
For me, the flames are a metaphor for the incinerators in the extermination camps. I coverd the shameful detail with a little hanging flap, which can be opened by hand (if wanted). After opening, if will fall back into place, covering the head.
"Scham (Judensau)" / Shame (Jewpig), Photography, red Laserdot, 30x40cm, 2003
Quite far up high, a black+white photography can be perceived (the center is 2.66m high up). Strangely, a red dot (may be 2cm in diameter) can be seen. The dot is “active”, if not aggressive, the light spot consits of small sparkling dots which seem to move – an uncomfortable spot. The red dot is caused by a laser beam.
This dot "eliminates" or points at a part of the photography which cannot be recognized. It is an image of a gothic church, the church where Marthin Luther was preaching in Wittenberg, Germany. The “invisible” detail is the socalled "Judensau" (jewpig), a medieval reliev on the church fassade from the 13thcentury. The "jewpig" on the fassade is approx 6-8m high up and corresponds with the highly mounted photo. There is an incription on top of it, which was added later and which goes back to Luther. The inscription "Shem HaMphorash – Sham HaPeresh" refers to Luthers sarcastic writings and a word game he played (it translates from Hebrew: “Unspeakable Name of God – There is dirt/excrements”). The dot “eliminates” this sore-spot, on the other hand it draws attention to it.
"Scham (Judensau)", Fotografie, roter Laserpunkt, 30x40cm, 2003
Recht hoch oben, deutlich über Kopfhöhe, entdeckt man eine schwarz-weiß-Fotografie (Bildmitte in 2,66 m Höhe) . Komischerweise sieht man einen aggressiv rot leuchtenden Punkt (Durchmesser etwa 2cm) – ein unangenehmer Fleck. Der rote Punkt auf dem Foto, der wie von hinten zu leuchten scheint, ist von einem gegenüberliegenden Laserstrahl hervorgerufen. Dieser rote Punkt eliminiert oder zeigt zugleich auf ein Detail des Fotos, das nicht erkannt werden kann.
Es handelt sich um ein Foto der Stadtkirche in Wittenberg, Martin
Luthers Prediktkirche. Das „beleuchtete“ bzw. „unsichtbare“ Detail im Bildmotiv ist eine sogenannte „Judensau“, ein mittelalterliches Relief an der Choraußenfassade der Kirche aus dem 13. Jhd. Es
ist dort hoch oben angebracht (6-8m über Boden), die Anbringungshöhe der Fotos korrespondiert damit.
Über dem Relief ist eine Inschrift eingemeißelt, die später angebracht wurde und auf Luthers zurückgeht. Die Inschrift - Shem HaMphorash – Sham HaPeresh – bezieht sich auf
Luthers sarkastische Schrift und sein bitterböses Wortspiel, das er mit dem für Juden unaussprechlichen Gottesnamen treibt. Die Übersetzung aus dem Hebräischen, im dem die Begriffspaare ähnlich
klingen, lautet “Unaussprechlicher Gottesname – dort ist Schmutz/Exkremente”.
Es handelt sich hier um einen wunden Punkt, der mit dem scharfen Laserstrahl „seziert“ und untersucht bzw. hier aus Scham gleichzeitig ausgelöscht wird. Das Relief ist derart judenfeindlich, dass es nur in dieser paradoxen Weise „ansehnlich“ wird.
Inga Fonar Cocos
left / links: "Matrix", 250x330cm, 81 wax plates, pins, light, control, 2003
The work is dealing with the limitations of our sight, of the "pure" visual perception, and at the same time It suggests a reading of mental and conceptual limitations. It is about a visual paradox. The idea is anchored in the physiological notion of the 'blind spot', which is the name of the opening in the retina leading to the nerves; and therefore it has no optical receptors.
Matrix is creating a large square shape, two small oval shapes (the 'blind spots') are placed on the two sides of the large square. The flickering light adds "pressure" on the eyes of the exposed viewer, and evokes the idea of the flickering television or other media lights. The installation 'plays' a kind of a game with the viewer. While the viewer is trying to figure out the 'map' /'order'/ 'multiplication table' in front of him, he is actually facing a vision test, testing his own blind spots. A document with a short text accompanies the work – telling the viewer that by following a few simple instructions he can actually test his own 'blind spots'.
right / rechts: two wax plates "Tactile Language"
Detail "Matrix", 250x250cm, wax plates, pins, cords, 2003
"unSICHTbar" / ("inVISIBLE"), 2003
Galerie im Heppächer, Esslingen, Germany
Inga Fonar Cocos "BLIND MAN’S BUFF" (Blinde Kuh), 2002
A blindfolded woman (the artist’s self-portrait photograph) is placed on the wall, higher above the viewer's eye-level. The woman's eyes are blindfolded by rubber cables, which refer to an aggressive act of forcing blindness on a seeing person. The same cables appear hanging in front, very close to the viewer's eyes, creating a veil, a visual barrier between the viewer and the blindfolded woman's image. Double blindness is experienced – that of the blindfolded woman and that of the viewer.
The photograph is placed in the vanishing point of a painted perspective-like architectural structure in black and yellow. The colors are nature's colors of alarm, since they appear on poisonous creatures. The woman's Madonna-like hieratic posture creates a sharp contrast with the aggressiveness of her being blindfolded, and evokes a sensation of a Victim on one hand, and of a Saint on the other.
This is about changing roles with the “other”. The identity of the figure is erased, in a similar way to that done nowadays on television (by blocking/covering the eye-area), when exposure of a person’s identity is not allowed. Here – a new identity is given – by putting a title: "Blind Man's Buff" (blind cow). The title refers to a childhood game, in which a person is blindfolded and has to find his way and to catch another person to serve as a Blind Man instead of himself.
The antagonism between the calmness of the non-seeing figure and the violence imposed on her, evokes notions like: blindness, isolation, inner-vision, inner-belief. Some question arouse - who is blind, who is isolated, the woman, or the viewer; how far our physical body involvement goes – can we be where our eyes lead us to; who is the person watching, where is a Madonna and who is a victim, a "wanted" person.
The work was first created in 2002, a year and a half after the second "intifada" started. The unbearable situation and sensation for both sides, the Israeli and the Palestinian, was a catalyst for the installation.
Klaus Illi “Don’t Look”, pneumatischer Apparat, Farbfoto auf Aludibond, 59x48x68cm, 2003
Das Farbfoto zeigt ein mittelalterliches Glasbild des jüngsten Gerichts aus der Besserer-Kapelle des Ulmer Münsters (frühes 13tes Jh.). Das weit aufgesperrte Maul des “Leviatan” symbolisiert den Höllenschlund, der die Verdammten verschlingen wird. Sein Rachen ist in Flammen, und ein einzelner Mensch befindet sich offensichtlich bereits in der Verdammnis. Sein Kopf schaut aus den Flammen, mit weit und schmerzvoll aufgerissenen Augen und Mund. Der „Verdammte“ ist am Spitzhut als Jude deutlich erkennbar.
Nach Annäherung des Betrachters bewegt sich entweder die runde Abdeckung auf den Kopf des bereits im Höllenschlund befindlichen Verdammten, um ihn zu verbergen, oder aber die Lupe, um ihn deutlicher zu erkennen. Die Abdeckung kann kurz den Blick freigeben, um dann das schwer Ansehnliche sofort wieder zu verdecken, sie kann aber auch eine ganze Zeitlang dort verweilen, oder sie kann sich auch immer wieder mit der Lupe abwechseln. Die Vergrößerungsfunktion der Lupe wird stärker, wenn sie hochgezogen wird, u.s.w.
“Don't Look”, pneumatical apparatus, color photography on alucubond, 59x48x68cm, 2003
A medieval doomsday image from the glass windows of the Besserer-chapel by Hans Acker, around 1430, Cathedral in Ulm, Germany.
Upon approach of a viewer the cover-flap of the optical apparatus starts to cover and hide the head of the jew in the flames. It can remain quite a while there, or just for a moment, giving back the image, returning again and so forth. Or, in contradiction, the apparatus turns the magnifiing glas onto the head and moves up and down...
"Don't look"
Klaus Illi “Scratching Machine”, 2002, 80x55x20cm, pneumatische und elektrische Elemente / pneumatic and electric elements
Im Laufe der Ausstellungszeit entsteht durch das Schaben der Klinge ein „Bild“.
During the exhibition period the scrating ob the blade creats an „image“.
Klaus Illi „Sie wären sowieso gestorben“ / You would have died anyway
Atemobjekt, Leuchtkasten, Röntgenbild Imre Gönczi / Breathing object, lightbox, x-ray Imre Gönczi, 2003
links: Das ovale Atemobjekt atmet verschiedene kleine Sequenzen, die auf unterschiedliche Weise Atemdefekte und -Anormalitäten aufweisen.
rechts: Auf dem medizinischen Leuchtkasten ist vor grellem Neonlicht eine Lungen-Röntgenaufnahme mit deutlichem Schatten auf der rechten, herznahen Lunge zu sehen. Es ist eine Röntgenaufnahme von 2002 von den Lungen des Holocaust-Überlebenden Imre Gönczi, Haifa, der nach einer Eiterinjektion ins Rippfell durch den Arzt Hans Münch in Auschwitz nur knapp dem Tod entging, aber seither Schmerzen bei jedem tiefen Atemzug hat. Imre Gönczi hatte den Mut, seinen Peiniger in dessen Villa am Starnberger See zu besuchen. Der bereute nichts und meinte: „Sie wären sowieso gestorben“.
Siehe auch https://magazin.spiegel.de/EpubDelivery/spiegel/pdf/10932952
Klaus Illi "You would have died anyway"
Breathing object, light box, X-ray Imre Gönczi / Breathing object, lightbox, x-ray Imre Gönczi, 2003
left. The oval breathing object breathes various small sequences: The oval breathing object breathes various small sequences that show respiratory defects and abnormalities in different ways.
right: On the medical light box a lung x-ray with a clear shadow on the right lung close to the heart can be seen in front of bright neon light. It is an x-ray from 2002 of the lungs of Holocaust survivor Imre Gönczi, Haifa, who after an injection of pus into the pleura by doctor Hans Münch in Auschwitz barely escaped death, but since then has had pain with every deep breath. Imre Gönczi had the courage to visit his tormentor in his villa on Lake Starnberg near Munich. He regretted nothing and said: "They would have died anyway".
left back / hinten links: Klaus Illi „Sie wären sowieso gestorben“ / You would have died anyway
right / rechts: Inga Fonar Cocos „Babylon / one language“, 1997/2000
Babylon is an installation about inventing a new language – one that will be simple and understood to all, as before the building of the tower of Babylon.
The grid structure is used, and a limited number of simple and familiar signs: plus, minus, and the cross of the two in black and white (using different inks and different mediums of applying the ink). Each unit is different, like the different letters of the alphabet, creating different “words”.
Temporariness and irregularity is used in the form of hanging the works. The “lines” always start at some point, and go on like writing, creating a word, a sentence, a language.
In the process of building and developing the “language” some unexpected things happen. A certain experience of vision iscreated. Things become unclear, and the viewer is confronted with a situation of a “fence”, a barrier, something that lets him in just up to a certain point, and there he is blocked. It is the experience of simultanously viewing the zoom-in and zoom-out effect, focus and blurr. Each unit has its dept, its spatial sense, or its two-dimensional sense. In terms of time, it is not a linear, progressive time, but simoultanous, synergetic. In this process language creates vision, and vision creates a network, a network which is not always accessible.
Inga Fonar Cocos „Babylon / one language“, 1997/2000 (see text above)
Foreground / Vordergrund: Inga Fonar Cocos „Monitors / disturbed vision“, 1999-2002
A row of black wooden rectangular units, hanging from the ceiling divides the space into two parts.
Each unit has an inner structure, a weave made out of iron wire and nails. The units converse with the human vision, as they have the shape and size of a T.V. or other screen types, and “immitate” the movement of the pixels on the screen, when the image does not exist, and is about to emerge.
The monitors structure creates a physical and a visual disturbance in space. The space cannot be viewed normanlly. The emphasis is on the gaze, where is it focused and what is behind it. The viewer becomes aware of the void, of emptyness, of chaos, of order, of the other side. The work comments about our era of “visual culture”, receiving all information, almost at real time, via monitors, while reality becomes more and more ellusive.
Klaus Illi: "Vermessung (jüdisches Viertel, Bunker)" 2003
Laserwasserwaage, Motor, Steuerung, Foto 40x30cm, wandernder roter Laserpunkt.
Eine aus Landvermessung und Bautätigkeit bekannte gelbe Wasserwaage auf Stativ dreht sich langsam. Erst mit dem zweiten Blick entdeckt man einen kleinen roten Punkt, der über Kopfhöhe an der Wand über ca 300 Grad entlang wandert. Gegenüber der Laserwasserwaage befindet sich ein schwarz-weiss-Foto, das vom Laserpunkt durchwandert wird. Es ist eine Aufnahme aus dem „document“ Neupfarrplatz, einer unterirdisch zugänglichen Ausgrabungsstätte des mittelalterlichen Judenviertels in der Altstadt Regensburgs. Auf dem gegenüberliegenden Fotos bleibt der Laserpunkt stehen, wenn der Betrachter den Raum verlässt, und wartet dort in seiner Ruheposition auf den nächsten Besucher.
"Conveying (jewish quarter, shelter)", 2003
Laser balance, motor, control, photo 40x30cm, moving laser dot
The red laserdot of the balance moves horizontally and over head through the space, it seems to scan something very slowly, to search pittyless. The laser balance starts its activity upon entering, moving in a range of approx 300degrees - after the leaving of the visitor, it will move back to its stand by position and remain there until the next visitor enters: a black-and-white-photo of a subtreranean exgravation site at Neupfarrplatz in the old city of Regensburg, Germany.
"Vermessung" (jüdisches Viertel, Bunker)", Fotografie 30x40cm, roter Laserpunkt, 2003
Das Foto der unterirdischen Grabungsstätte des mittelalterlichen Judenviertels zeigt links die Außensicht eines jüdischen Kellers, rechts die Außensicht eine Nazi-Ringbunkers aus Beton.
Die Ausgrabungen um 1995 brachten nicht nur die Keller des ehemaligen jüdischen Viertels zu Tage – die Juden wurden 1519 aus Regensburg vertrieben und die Synagoge samt dem jüdischen Viertel
abgerissen. Auch ein die Ruinen umfassender Naziringbunker von 1943 ist im „document“ zu sehen. In der Bildmitte, am Ende der Sackgasse stoßen beide Gebäude in einer eigentümlichen Schnittstelle
direkt aufeinander. Es ist ein Außenblick, der uns Heutigen nach der Abtragung des Erdreichs 1995 verbleibt.
"Conveying (jewish quarter, shelter)", photo 40x30cm, laser dot, 2003
The black-and-white-photo shows the subtreranean exgravation site of the medieval jewish quarter at Neupfarrplatz in the old city of Regensburg. Left the stones of a basement wall can bee seen from outside, on the right the outside of the concrete walls of a nazi ringshelter from 1943 can be perceived, since the earth has been removed 1995. The jews had been driven out of Regensburg in 1519, their synagogue and their quarter was torn down subsequently. In the middle of the image, at the end of the blind alley, bolth buildings meet at a strange interface. It is a view from outside, which remains to us contemporaries.
Klaus Illi "Deutsches Alphabet", 15 Holzdrucke aus einer Serie von ca. 50 Drucken, Blattgröße je 50 x 65 cm,
roter Laserpunkt, 1998 / 99
Die Holzdrucke wurden durch Fotos angeregt, die Wehrmachtssoldaten im Osten von diversen Exekutionen mit improvisierten Balkenkonstruktionen machten (bei strengem Fotografierverbot). Die Fotos
wurden später in der Ausstellung "Blindsehen" 2006 unter dem Titel "Luftpark" verarbeitet, siehe unten.
Klaus Illi "German Alphabet" 15 woodcuts from series of approx. 50 prints, each 50 x 65 cm, 1998 / 99, red laser dot
The woodcuts have been inspired by photos taken by soldiers of the Wehrmacht in the East from diverse executions with improvised gallows (under strikt photographing prohibition). The photos have been used later in the work "Luftpark" (air parc) in the exhibition "Blind sight" 2006, see below.
Inga Fonar Cocos „In Valid“
The work containes two terms: the term of validity – which is given by law, and the term of invalid - which relates both to negating the validity, and to being disabled.
A rupture appears on the heavy wax block depicting the map of Israel. This is not a devision made by borders, it is a physical breakage which evokes a mental, a phsycological rapture.
Wax is used here, since by it’s character, it easily receives the shape of a given mold, it is easily put into a given form. This serves as an analogy to what happens with our own vision, and our
fixed points of view.
Klaus Illi “Civilization (The Last of the Tasmanians)”, 1997/2003, Two electronically controlled slide-projectors, slides
When a viewer approaches, two computer-controlled slide projectors switch on. Each projector projects in short sequences and different ways two different slides. Each sequence requires the
presence of a viewer.
Subjects are the portraits of the two last Tasmanians (in frontal view), photographies by Charles A. Woolley for the "Intercolonial Exhibition" 1866 in Melbourne.
"Truganini" alias "Lallah Rookh", the last of the Tasmanians died on May 8, 1976 in the age of over 65 years. "William Lanné" alias "King Billy", the last male Tasmanian, died at March 3, 1869 in the age of 34 (see separate texts about the two persons and their fate).
Photography is used here as a documentation, witnessing a completed genozid. This "archaeology of seeing" encircles with the irritations of the view the discourse of perception. Besides the subject of the images also the optical appartatus itself and by this the technological advance are part of the work. The development of “civilization”, the so called “advance” is addressed, which includes perpetratorship for centuries by the white man, including genocide.
The projection deals with the disappearence and appearance of individual and collective memory, traumata and involvement, which rise as notions from amnesia.
"Civilization (The Last of the Tasmanians), left: William Lanné, right: Truganini
alias Lallah Rookh
"Civilization (The Last of the Tasmanians), left: William Lanné, right: Truganini
alias Lallah Rookh
"Blindsehen", 2006
Kunstverein Bellevue, Wiesbaden, Germany
Ausstellungsüberblick vom Eingang aus
Overview from entrance
Inga Fonar Cocos
left / links: “Poison Green”, 4 photographs, each 30 x 105 cm, 2006
right / rechts:"Do-do-mu", sphere, 100 cm
Inga Fonar Cocos "Do-do-mu", Detail
It is made out of black rubber, on top of the sphere rail are running across it in different directions. The rails are constructed from light wires and from hundreds of matches, and are connected to an electronic box which dominates the flickering lights creating an endless movement.
The title of the work is in Polish, and it means "to – home". At the same time has the sound of a game or of a baby talk. (I was born in Warsaw, Poland, and immigrated to Israel as a little child).
The work is about the basic human need of a home, for stability and security, for protection from the chaos outside. This inner longing for order (which, when exists, gives security) which is not satisfied turns into pain. The rails go somewhere/nowhere, return to somewhere/nowhere, crossings, wanderings, "play" an illusion on our eyes and mind, and leave us with feelings of false joy (evoked by the lights) and with emptiness (perpetum mobile with no direction).
Inga Fonar Cocos “Poison Green”, 4 photographs, each 30 x 105 cm, 2006
The photographs depict an unclear view, which cannot be identified with a certain place and suggest some kind of mystery. They have a panoramic shape suggesting a wide vision field and a green
finish, as if viewed by a night vision binocular.
The work subverts our unlimited will to break the limitation of our vision, to transform the impossible into possible. It relates to our false omnipotent feeling that reality is there spread in
front of our eyes, and we have the right instruments to see it and to know it.
"Blindsehen" Ausstellungsüberblick Richtung Eingang
"Blind Sight" Overview towards the entrance
Klaus Illi "Luftpark", Schwarz-Weiss-Fotos, je ca. 5x7cm, fahrbare Treppe
Klaus Illi "Luftpark", Schwarz-Weiss-Fotos, je ca. 5x7cm, fahrbare Treppe
Klaus Illi "Luftpark", 2006, Schwarz-Weiss-Fotos, je ca. 5x7cm, fahrbare Treppe
Kleine etwa passbildgroße Fotos hängen hoch oben an der Wand. Mit einer Treppenleiter, die an den gewünschten Ort geschoben werden kann, kann man hinaufgelangen und oben auf der Plattform stehend die Fotos betrachten.
Die Galgenbilder entstammen dem Katalog „Vernichtungskrieg. Verbrechen der Wehrmacht 1941-1944“(Hg. Hamburger Institut für Sozialwissenschaft, Hamburg,1997). In der Installation wurden fast ausschließlich Fotos verwendet, die in Fotoalben oder Brieftaschen von (Wehrmachts-) Soldaten gefunden wurden – es handelt sich also um ganz persönliche Erinnerungen, zumal bei solchen Aktionen der Wehrmacht striktes Fotografierverbot herrschte.
Die hohe Platzierung der kleinen Fotos (etwa in Originalgröße) stehen für die Probleme des Erkennens und Erinnerns und sind nur durch Verwenden der Treppe halbwegs gut erkennbar. Der Titel stammt aus einem Schild auf einem der kleinen, hochhängenden Fotos.
Klaus Illi "Air Parc", 2006, photos, each approx. 2x3", step-ladder
The photos were taken by soldiers of the Wehrmacht in the East from diverse executions with improvised gallows (under strikt photographing prohibition).
Inga Fonar Cocos
front: "SEALED VISION", Sealed military night vision binocular, rubber, mixed media, 2006
background: “Poison Green”, 4 photographs, each 30 x 105 cm, 2006
Inga Fonar Cocos "SEALED VISION", Sealed military night vision
binocular, rubber, mixed media, 2006
Klaus Illi "Katharsis", 8 Schrittmotoren mit Handfegern, Steuerung, 5m x 3m x 25cm, 2005/2006
"Catharsis", 8 step motors with handbrooms, control, 5m x 3m x 25cm, 2005/2006
Front / vorn: Klaus Illi "Katharsis", 8 Schrittmotoren mit Handfegern, Steuerung, 5m x 3m x 25cm, approx. 25 different programs, 2005/2006
Center / Mitte: Inga Fonar Cocos “Blinding Lights", 3 drawings (out of 5), graphite on cotton paper, approx. 25x100cm, 2003
Right / rechts: Klaus Illi "Katarakt", Fotos unter Mattglas, je 50x65cm, 2006
8 handbrooms, manufactured by blind people, are brooming the floor. Will something (metaphorically) be swept under the carpet, is there something to be hidden, to be forgotten, even eliminated or
censored? Or is the broom carefully looking for something to be revealed, to be looked at? Do we whitness a quasi-archeological search for traces, an unearthing of layers? Do we rather see
aspects of suppresion or clarification in this process?
The concept of “being clean” or “pure” plays an important role in our thinking, especially in religious matters, where rituals of mental and physical cleaning are performed. Purity and hygiene are one of the most fundamental needs in medicine, also in many other fields “purity” is a foremost positive value, worth striving for (clean streets, food, nature, the clean language, a clean conscious), in the field of politics and ideology is gets ambiguous and questionable: clean race, ethnical cleansing. “Washing hands”, to be unguilty, seems to be a need for the perpetrater as well as for the victim. Catastrophes and wars are looked at as being “cathartic”. Approx 25 different programs from manic attacks of cleaning to more meditative and aesthetic ways or coincidental sequences until melodies like the German national anthem (see video) are performed. By absurd forms of cleaning laughter and questions are ecoked.
See short video clip of a round arrangement of the brooms on Youtube: