quarta-feira, março 16, 2016

Hein Semke: "A German in Lisbon" at Fundação Calouste Gulbenkian

The lines of the soldier’s left hand, that almost appear to be wounds. It seems to beckon me to go and meet its author, Hein Semke, who was an almost unknown entity to me. The sense of strangeness came from the juxtaposition of unexpected elements, such as the soldier kneeling. Semke was able to create a kind of world opposed to the world, a contra-world, a world within a world. But it’s difficult to describe this (image of a) sculpture. I’ve never believed in art objects per se, neither am I interested in them. What truly interests me is not their existence as such, their materiality or their presence, but rather everything which involves people’s lives, or their memories, or their future and thus everything which lies beyond their status as art objects. Upon looking at it, I’m left with echoes. 

                                                    (Kameradschaft des Untergangs)

Unfortunately this sculpture was destroyed a long time ago. We are only left with those echoes represented by the picture/image on exhibition (occupying an entire wall). This image on display has a very frontal presence, very self-absorbed, very much closed in upon itself, but it does not have a very palpable existence and therefore it reminds me of everything and everything conjures everything up. But they are only echoes. I stood in front of this man-sized image for a very long period of time. I lost track of time. For me, it was utterly incomprehensible if even it awoke “memories” in me, future or past, or something else.

NB: Pictures taken by me, perambulating the boundaries between Art and Life at Fundação Calouste Gulbenkian in Lisbon.

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