tobias rehberger

http://www.daserste.de/ttt/beitrag_dyn~uid,btw9xp5274fqw04y~cm.asp

On the day of the opening reported " ttt" from Venice: of the largest international Kunstshow the world. " Far Mondi" - " Weltenmachen" , so the slogan of the 53. Biennale. Over 77 countries and over 100 artists issue. And for the first time the creative process of the artists is located in the center. In addition, the Biennale is a competition: Who wins the golden lion? Who is the new star of the international art scene? Before the Palazzo Dieter moorland meets Biennale director Daniel pear tree. " Making Worlds" , " Weltenmachen" , " Far Mondi". In each language that sounds a little differently - which wanted to communicate pear tree with this slogan to the world? " We want to stress that the Biennale is not a place, where one zeigt" finished works of art; , the chief curator explains his concept. " Separate rather a place for experimental, new productions. Everything is new. But everything is shown here in the dialogue with the place, with the premises, with architecture, with the city. I believe, that am the typical for the Biennale. And we would like that betonen."

Proudly Daniel pear tree presents us its personal favorites. For instance the enormous installation " Galaxy" the Argentine artist of Toma Saraceno. In the largest and most central area of the Biennale Palazzo this developed an enormous and complex spider net with innumerable compressions and variations. " I so which in small in a gallery in Chelsea had gesehen" , pear tree swarms. " And I imagined: How would it be, if we make a large version of it? " Just as proudly pear tree is " also on; Paradiesgarten" of Nathalie Djurberg. A film installation - likewise built for the Biennale. " With their everything is possible. Also the most terrible Themen" , pear tree says. " Their films are very aggressively and sexually loaded. And it makes the dolls in its films from this material, which one knows rather from a child world. This mixture is very much merkwürdig." Djurberg was invited to arrange the second large area in the Biennale Palazzo. Their films are merciless. Here everything is permitted, here everything is shown. For its installation she received the silver lion as a best new generation artist. " Normally I work with completely small Figuren" , Djurberg says. " Here however I worked for the first time in a new dimension. The technology is the same. But I went through completely beautiful disasters. Now, I make everything all alone - only like that it is really vorstelle." my work like I her me;

There were some surprises in this year. Thus for the first time an artist won the golden lion with a bar. Is it the furniture - or is it the beverages? The German Tobias Rehberger makes the everyday life the art. Moved mirror. Irritations. Spielereien with its and now. And the whole functions as genuine bar. " It became exactly the same, as I it me meant habe" , says Rehberger, which one can often find in these days in its bar. " I look now, as I on my mechanism react and try out for me a little. I am my first customer. Therefore am I here, in order to probe whether it to some extent funktioniert." Its furniture arouses the impression, as if they would flow into the environment. Everything, only no Kuschel Wohlfühlraum. " I wanted to create a place, which one enters and imagines, one a pill would before have eingeworfen" , Rehberger schmunzelt.

How well its bar arrives, one sees to the fact that one can find even the president of the Biennale here. " The Biennale is not only a place, where you find art, but above all a place, at which one meets humans - and that already actually already fascinatingly ist" , Paolo Baratta says. " But we are nevertheless times honest: Here gibt' s surely a great many people, which hate modern art. But nevertheless they come, because it zählt." simply to the most marvelous events of the yearly;

And still another Englishman, equivalent next door: in German pavilion. Liam Gillick gives an operating instruction to everyone to the hand. Before one enters the pavilion, one should read this text: " Liam Gillick its daily work surrounding field, its kitchen, which he uses as improvised studio, into which to German pavilion transferred. After months-long working in the kitchen, of umschlichen of the cat its son, he concerned himself with the question: Who speaks? Who speaks with whom? And with which authorization? While the cat always tried, its work to interrupt… " That sounds somehow after poet they - or is that the truth? " No, that is the Wahrheit" , Gillick schmunzelt. " Even if it sounds after poet they. But I thought so for a long time about this German pavilion the fact that I had already a button in the head - and has the cat, those constantly around me crept somehow me shown, to stop as krampfig think as a Idiot."

From the operating instruction we had already experienced that it concerns a kitchen here - and not around any, but around the Ur-Einbauküche: the Frankfurt kitchen. Here send in jaws held. And the Mietzi sits also thereby. " Look, somehow are privileged I. I can say simply, what I möchte" , so Gillick. " And in such a way I imagined: Perhaps it is the cat, which must take the thing into the hand. Nevertheless participated always already also. With Mussolini. As a Hitler to walk here went. As Haacke broke the ground. The cat is simply a timeless Figur."