Beckettstudien, Radiermappe

Le Salaud! Il n’existe pas!
PDF – Katalog / Catalogue (4,5 MB)

Kleine Vorschau:
Radierserie (32 Blätter): Le salaud! Il n’existe pas! (The Bastard! He doesn’t exist! — Der Lump! Er existiert nicht) 4 Gruppen mit je 8 Radierungen;   Auflage: 10 römisch (geschlossene Mappen) + 20 arabisch (offene Serien); Fertigstellung Mai 2010

Gruppe I und II: Weichgrund und Photoumdruck; Plattengröße: 20 cm x 15 cm

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Gruppe I: Radierung 1 – 8

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Gruppe II: Radierung 10 und 11

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Gruppe IV: Radierung 32; Heliogravure; Plattengröße 20 cm x 20 cm,

Le salaud. Il n’existe pas! – The bastard! He does not exist! – Der Lump! Er existiert nicht! (Beckett, Endgame)Portfolio with etchings to Beckettstudien: 32 sheets, plate size 20 cm x 15 cm (group 1 to 3) and 20 cm x 20 cm (group 4), 8 sheets per group; Sheet size pprox 53.5 cm x 38 cm; zerkal 300g handmade paper; 2009 – 2010;Group 1 to 3: Softgroundetching, photoetching, counter pressure and aquatint; Group 4: Photogravure

Group 1: Quotes: (Dante, Beckett, Rubens, Botticelli, Codex Urbinate Latino 365)
Group 2: Quotes from the quotes: rearranged elements, text, images, only identified as a pattern, fragments, and counter-pressures photoetchings on the bare copper plate: Copies and excerpts from Group1
Group 3: Rear of aquatint prints and photoetchings from Group 2 and advance to Group 4, fragments of fragments;
accurate representation possible by advanced technology (aquatint)
Group 4: photogravure of a quotation of a holiday photos, digitally processed and printed onto film). Unclear Quote of the drawing:monk at the sea by Caspar David Friedrich, again possibility of fragmentation and repetition
[(see Beckettstudien: Only [the thing would be absolutely real, that would not be re-substance: no thought of a principle which the fragments are connected to a system. Friedrich Schlegel]
The bastard! He does not exist!)]
Sheet 32 stops the series: It contains all the ideas we discover in it, no idea contains the series. The etchings include addition, two narrative interludes Series in series; recitation as a deposit: known fragmented images / elements as deposits, they follow more of a performance than a representation (Group 1 + 2). The next interlude goes deeper, is also recitation, but well thought out previously (group 3 + 4): Recitation of the recitation, the stuff we seem to realize, but scaled-down perspective, similar to a text by rote. So apparently takes everything together, clutching each other tightly, and yet it is only in unstable equilibrium. Their content will slow down) just before the tautology (the substantive irrelevance, because it is technically explored representational without distraction, and the theatricality of the basic forms of graphic / etching, the possibilities and their limitations.

Printer: Stefan Feigl, Munich
Production of the plates for Photogravure: Alois Achatz, Regenstauf
Literary Support: Friedhelm Rathjen, Scheeßel,

Edition of 10 Roman, closed portfolios, including the front pages
+ 20 Arabic, individual leaves, no front pagesThe graphic portfolio contains 32 etchings , worked out with the techniques of soft ground, the photoetching, the counter-pressure and the classical Photogravure.
The portfolio also includes a serial electrical music composition opens the framework of the conceptual and composal base of the etchings.

About the graphics I investigate concrete the structure of the drawing on their inner possibilities, that is, from a large unit groups are formed, which in turn are divided into sequences, which in turn will be towards smaller units, which again form groups,1
About Beckett and the quotation from Endgame will hit the bridge to the content of early romanticism and idealism on the one hand, but also literally to the impossibility, showing in a drawing non-visible (Nichtsichtbares) (Beckett’s non-thinkable (Nichtdenkbares), following the philosophy of idealism) or more concrete to see, to think and to imagine. The proclaimed in the title is reflective included in the music composition, which on the basis of serial composition technique developes series of pitch, duration and audio volume, whose differences are not always audible, but in any case measurable (Collaboration Albrecht Kunze)
Technical: The complet portfolio will appear in May 2010. The magazine – Graphic Arts – publishes a review in spring 2010, ( Author: Kurt Jauslin). First single sheets are shown in a group exhibition in the gallery of the Gasteig in Munich in January 2010 and in the gallery Huber in Munich in August in the exhibition – images from the collection Huber -. It is planned in June 2010 a show with all 32 sheets in the Gallery Leyerseder with the premiere of the music composition, some leaves are also now seen in the Gallery Art Engert in Eschweiler and in September will be in New York presents the complete solution.
So much for this portfolio. (..) Let me say that working with literature (and literary critics) is a central point of all my work to show the content (not illustrative) reflection surfaces.
Appendix I:
The etchings are built about the quotation of Endgame: (The bastard! He doesn’t exist!)
the serial rows of the music are built over the logical operators (true – false; and – or) of the following quoteation out of Beckett’s novel Watt:

Twelfe Possibilities occured to Watt, in this connexion:

  1. Mr Knott was responsible for the arrangement, and knew that he was responsible for the arrangement, and knew that such an arrangement existed, and was content.

  2. Mr Knott was not responsible for the arrangement, but knew who was responsible for the arrangement, and knew that such an arrangement existed, and was content.

  3. Mr Knott was responsible for the arrangement, and knew that he was responsible for the arrangement, but did not know that any such an arrangement existed, and was content.

  4. Mr Knott was not responsible for the arrangement, but knew who was responsible for the arrangement, but did not know that any such an arrangement existed, and was content.

  5. Mr Knott was responsible for the arrangement, but did not know that who was responsible for the arrangement, nor that any such an arrangement existed, and was content.

  6. Mr Knott was not responsible for the arrangement, nor knew who was responsible for the arrangement, nor that any such an arrangement existed, and was content.

  7. Mr Knott was responsible for the arrangement, but did not know who was responsible for the arrangement, and knew that such an arrangement existed, and was content.

  8. Mr Knott was not responsible for the arrangement, nor knew who was responsible for the arrangement, and knew that such an arrangement existed, and was content.

  9. Mr Knott was responsible for the arrangement, but knew who was responsible for the arrangement, and knew that such an arrangement existed, and was content.

  10. Mr Knott was not responsible for the arrangement, but knew that he was responsible for the arrangement, and knew that such an arrangement existed, and was content.

  11. Mr Knott was responsible for the arrangement, but knew who was responsible for the arrangement, but did not know that any such an arrangement existed, and was content.

  12. Mr Knott was not responsible for the arrangement, but knew that he was responsible for the arrangement, but did not know that any such an arrangement existed, and was content.

Appendix II:

As discussed, music compsoition as an art closer to a character of a science like mathematics or grammatic is more discursive, as science has to be discursive. Painting, closer to the meaning of a sentence, not of the structure, is more fictional and stands in its own semantic space. But the impossibilities to make visible the nonsense of speech but the correctness of a sentence (Subject, verb object) like above in painting is transported to the serial composition (las above: not hearable, but measurable: that is science! We can figure nonvisible things like the strings in physics in mathematical discurses. (or musician discurse) But we can show the inner structure of non-thinkable in paintings or as in the portfolio, in etchings

 

1why the series is not a drawing, but clear conceptional and very close composed as a serie of etchings (serial composition tecnique). Started with softground etchings, then repeat with their own copies made by photroetching and the counter-print penetrated deeper into their own internal structure and then thematically and technically forced to land in photogravure and end at the leaf # 32.))

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