2015
Paris
Index
1 Pierre Klossowski in: L’Hypothèse du Tableau Volé
(Raúl Ruiz, F 1978)
2 Clemens Krümmel, Difficulty, wall print, 2015
4 Hyangro Yoon
6,7 Le Petit Journal, Paris, France, ca. 1905,
courtesy Melton Prior Institute, Düsseldorf, Germany
8,9 Moritz Fehr, „Mojave – A Person Was Here“,
2013, stereoscopic video, Ambisonic, surround sound, 22’40“
10 Harpokrates, Deity of Silence Gallery Academy of
Fine Arts, Vienna (photo by the author)
11 Franz John, Interzone, An interactive time
travel CD-ROM through the fortifications of the former Berlin was (www.i-n-t-e-r-z-o-n-e.de). Screen shot from video material accompanying the
installation on view at Songwon Art Space, Seoul, 2015.
12 Stefan Ettlinger, composite carbon drawing, 2011
13 Moving pictures storyteller, taken from: Kintop,
Jahrbuch zur Erforschung des frühen Films, Basel, Switzerland / Frankfurt/M.,
Germany, vol. 5, 1996
14 Le Petit Journal, Paris, France, ca. 1905,
courtesy Melton Prior Institute, Düsseldorf, Germany
15,16 Katsuhiro Otomo, Winsor McCay, Villard de
Honnecourt, Hyangro Yoon, Shane Simmons
17 Viola Rusche, Franz John, Francesco Colonna,
Shane Simmons
18 Hieronymus Hei, „Bänkelsänger am Nadelberg in
Basel“, 1832, Illustration from „Bänkelsang und Moritat“, exhibition catalogue,
Graphic Arts Collection, Staatsgalerie Stuttgart, Germany, 1975,
19 Dean Ellis, cover liiustration for Ray Bradbury,
The Illustrated Man (first published 1951), 1969 Bantam edition.
20 A scrapbook
21 Peter Blegvad, Empatheen, from his comic strip
series „Leviathan“ serialized in the „Independent on Sunday“, London, UK
22 Winsor McCay, „Common Sense“, editorial
illustration, published ca. 1915.
23 Chris Ware, Touch Sensitive, iPad app for
McSweeney’s (now defunct)
24 point it, Traveller’s language kit, first
edition 1992, (c) Dieter Graf – „You may be fluent in four languages but
sometimes you could find yourself "off the beaten track" where you
can´t communicate. point it®, with 1300 items to which you can indicate, is the
answer. Everyone in the world will understand you. This passport-sized
assistant is used not only by tourists but also by UN peacekeeping forces,
Olympic athletes and speech therapists. The book is the result of the author´s
extensive travels in the five continents. Edition since 1992: 2,000,000.“
(Ad text for the eponymous app, present day)
25
26 Henry Flynt (henryflynt.org) reads "From Culture to Veramusment" at
Walter De Maria's loft, New York, USA, February 28th, 1963 (pictured in the
back: Vladimir Mayakovsky), photo by Diane Wakoski
27, 28 Etoki picture scroll recitals, from: Victor
H. Mair, Painting and Performance. Chinese Picture Recitation and Its Indian
Genesis, Honolulu, Hawaii, 1988
29 „In the autobiography Harpo Speaks
(1961), Harpo Marx recounts how Chico found him jobs playing piano to accompany
silent movies. Unlike Chico, Harpo could play only two songs on the piano,
"Waltz Me Around Again, Willie" and "Love Me and the World Is
Mine," but he adapted this small repertoire in different tempos to suit
the action on the screen. He was also seen playing a portion of Rachmaninoff's
"Prelude in C# minor" in „A Day at the Races“ and chords on the piano
in „A Night at the Opera“, in such a way that the piano sounded much like a
harp, as a prelude to actually playing the harp in that scene.“ (Wikipedia)
30 Jayme Yen, Banner for “Talking picture blues
(voices rising)”, Seoul, 2015
31 Harpo Marx; his claxon stick. – „Arthur
"Harpo" Marx (born Adolph Marx; November 23, 1888 – September 28,
1964) was an American comedian, film star, mime artist and musician, and the
second-oldest of the Marx Brothers. In contrast to the mainly-verbal comedy of
his brothers Groucho and Chico, Harpo's comic style was exclusively visual,
being an example of both clown and pantomime traditions. He wore a curly
reddish blonde wig, and never spoke during performances (he blew a horn or
whistled to communicate). He frequently used props such as a horn cane, made up
of a lead pipe, tape, and a bulbhorn, and he played the harp in most of his
films.“ (Wikipedia) – cf. Wayne Koestenbaum, The Anatomy of Harpo Marx,
University of California Press 2012, „… a luxuriant, detailed
play-by-play account of Harpo Marx’s physical movements as captured on screen.
Wayne Koestenbaum guides us through the thirteen Marx Brothers films, from The
Cocoanuts in 1929 to Love Happy in 1950, to focus on Harpo’s chief and yet
heretofore unexplored attribute—his profound and contradictory corporeality.
Koestenbaum celebrates the astonishing range of Harpo’s body—its kinks, sexual
multiplicities, somnolence, Jewishness, ‚cute’ pathos, and more. In a virtuosic
performance, Koestenbaum’s text moves gracefully from insightful analysis to
cultural critique to autobiographical musing, and provides Harpo with a host of
odd bedfellows, including Walter Benjamin and Barbra Streisand.“
32 Jayme Yen, Flyer for “Talking picture blues
(voices rising)”, Seoul, 2015
33 Margaret Mead, pointing downwards in an
Aristotelian way, Raphael, vessel
34 Moritz Fehr, „Mojave – A Person Was Here“, 2013,
stereoscopic video, Ambisonic, surround sound, 22’40“, “Talking picture blues
(voices rising)”, Seoul, 2015
35 Picture story recital, from: Victor H. Mair,
Painting and Performance. Chinese Picture Recitation and Its Indian Genesis,
Honolulu, Hawaii, 1988
36, 37 Francesco Colonna, Hypnerotomachia Poliphili
38 Fritz Schwegler, Effeschiade; Public picture
storyteller, Southern Italy, 1980s
39 Fritz Schwegler (1935–2014). „Born in the
Swabian town of Breech near Göppingen, Germany, Schwegler was first apprenticed
as a joiner to his father. He then traveled through the whole of Europe for
three years, where he visited 21 cities. As an artist, he first appeared as an
iconoclastic, uncanny creator of image collages and spoken performances,
entitled "Effeschiaden", "Effeschiadiana",
"Effeschiaturen", "Moritafeln", "Zehnerschaften",
"Viererreihen" and "Urnotizen", which were also accompanied
by photographs and film sequences.“ (Wikipedia)
40 Carl Arnold Kortum (1745-1824), Jobsiade, 1836
edition
41 Katsuhiro Otomo, Homage to Winsor McCay’s
„Little Nemo“ comic strips.
42 Villard de Honnecourt, a 13th-century artist
from Picardy, in northern France. He is known to history only through a
surviving portfolio of 33 sheets of parchment containing about 250 drawings
dating from the 1220s/1240s, now in the Bibliothèque Nationale (MS Fr 19093),
Paris, France. The great variety of subjects (religious and secular figures
suitable for sculpture, and architectural plans, elevations and details,
ecclesiastical objects and mechanical devices, some with annotations),
makes it difficult to determine its purpose. Other subjects such as animals and
human figures also appear. The traditional view, since the discovery of the
portfolio in the mid-19th century, is that Villard was an itinerant
architect/mason/builder, but there is no evidence of him ever working as an
architect or in any other identifiable profession. Nonetheless, it is clear
from his drawings that he was interested in architecture and that he traveled
to some of the major ecclesiastical building sites of his day to record details
of these buildings. His drawing of one of the west facade towers of Laon
Cathedral and those of radiating chapels and a main vessel bay, interior and
exterior, of Rheims Cathedral, are of particular interest.
43 Harlan Tarbell, Chalk Talk Stunts, first
published 1926
„A chalk talk is a monologue presentation done
while the speaker draws. It is usually done with chalk, hard crayon, or pastel.
The chalk talk method of teaching focuses on the blackboard and the lecture's
voice and also the activities to be precise the physical activities. This
method can be preferred for presenting lectures and talks. This method have
some characteristics which the presenter does not want the viewers to loose.
The dominant is ‚eyes‘ and the magical communication that exist whenever the
presenter have a nice lecture.“ (Wikipedia)
44 Austin Osman Spare, plate from the Book of
Pleasure (self-love).the psychology of ecstasy, 1913
45 Alice Creischer, ”Alle Tage Jericho” / „Ich die
Posaune“ 1982, mobile storytelling device.
„Eine Stadt ist kein Ort sondern ein Zustand. Wenn
ich durch die Stadt gehe, dann wechsle ich andauernd die Zustände aus, in denen
ich mich befinde, so wie man in einen alten Dia Apparat bedient. Man nimmt die
Dias nacheinander vom Tisch und steckt jedes einzeln in den Schlitten, den man
vor die Projektionsbirne schiebt. Man lehnt sich ein wenig zurück, verschränkt
die Hände hinter den Kopf und schaut. Das Wechseln von Zuständen ist eine
Tätigkeit, und die Zusammenstellung aller Zustände in ihrer Gesamtheit wäre
eine gigantische Beschäftigung, eine kannibalische Beschäftigung, die alles
verschlingt oder ignoriert, bis dass sie sich endlich erschöpft, sich sein
lässt und nichts mehr behauptet, als... Wenn ich durch die Stadt gehe und rede,
könnte ich annehmen, dass ich sehr mächtig bin. So, wie man sich fühlt, wenn
man eine riesige Kaugummiblase allein Kraft der eigenen Lungen, aus dem eigenen
Mund, in die Welt hineinbläst. Man könnte sich vorstellen, dass diese riesige
Blase die ganze Stadt erdrückt und dass nur ich allein durch die Straßen gehe,
die sich um mich dehnen müssen. Aber diese Herrlichkeit ist zu Ende, wenn ich
wieder einatmen muss.“ (Alice Creischer, Erpresserbriefe an die Geisteswelt,
Berlin 2005)
46, 47 Hyangro Yoon
48–53 The Grand Moving Mirror of California, Los
Angeles, USA "The Velaslavasay
Panorama in Los Angeles, California, is a historic exhibition hall,
theatre and garden dedicated to the production and presentation of unusual
visual experiences.Not that many years ago, a photo copy of the 1853 script
for The Grand Moving Mirror of California, landed on the
doorstep of the Velaslavasay Panorama, to the attention of museum director Sara
Velas. The script had been recently rediscovered in storage at the Saco
Museum in Saco, Maine and was sent by moving
"panoramaniac" Peter Morelli. The painted scroll no longer
existed, just the script. What better place than the Velaslavasay
Panorama and what more talented person than Sara to take up the challenge
of bringing this performance back to life? It was a perfect
match. Sara Velas, along with a diverse team of very talented people, set
out to recreate the moving panorama, The Grand Moving Mirror of
California. They didn't stop at merely creating the painting with the
cranking apparatus, narration and music (a Herculian task by itself).
They went on to create other accompanying pieces in the spirit of 19th century
moving panorama performances: flyers, miniature panorama souvenirs, a display
of Gold Rush artifacts and a logo reminiscent of 19th century
engravings.“ For more information visit the museum's website. www.panoramaonview.org
54 Ben Katchor, Picture Recital, New York City,
USA, ca. 2010.
55 Romana Schmalisch, Mobile Cinema – „‚Mobile cinema‘ is an apparatus which the artist
demonstrates in various cities, accompanying the screenings by experimental
lectures.’Mobile cinema’ is a reconstruction of a film prop from Alexander
Medvedkin’s film ‚The New Moscow‘ (1938), consisting of a projection and
viewing table. Using this bizarre device – which is a strange blend of an urban
model, cinema and plate camera — the principal character of the film, a
young engineer, presents his designs and urban visions for the new city on his
way to Moscow. Similar to this movie character, Romana Schmalisch travels to
various places with the «Mobile Cinema» and presents some of her films. Her
works is the research on urban space, the changes of urban space and the social
changes that come with them.“
56 „Neo benshi“ performance, New York, USA, ca.
2005.
58 The Museum of American Art exhibits Alfred H.
Barr’s Pedigree of Modern Art in China, ca. 2010.
59
René Magritte, „L’homme au journal“, 1928, Tate Gallery London, UK – „Artists,
being creative individuals, tend to experiment with different tools and apply,
combine and exploit various techniques in their work. Stereoscopy has not
escaped them either. Stereoscopic drawings can be found within most early
technical articles about stereoscopy, but mainly for the purpose of
illustration and idea communication rather than artistic composition. In the
middle of the 20th century, painters technically aware of the effects of
binocular vision in the human visual system have undertaken the tedious task of
painting two stereoscopic canvases instead of one. René Magritte (1898-1967)
with his ‚L’Homme au Journal‘ (1928) appears to have executed a quasi-stereo
painting, but did not further exploit the possibilities.“ (Efstathios Stavrakis
– Margrit Gelautz, „Stereo Painting: Pleasing the Third Eye“, Technical
University of Vienna, Journal of 3-D Imaging, UK (2005), 168; 20-23.
