Speech for the opening of the exhibition TRANCE in the municipal gallery Vilshofen

by Hans Brinkmann

Ladies and Gentlemen

"The good old time" does not have a date. Very wisely it proceeds in accordance with the Rumpelstilzchen principle, oh, as well that nobody is called? if it white, in former times everything better was, then this means "in former times " only: before the problem, which became straight the topic, before the topicality; but if we could rise into a time machine, which date adjusted we then on the armature, in order to arrive there, where allegedly everything, and really everything, was to have been better?

Always the mischief is already before us there. The conditions of the innocence are not to be found at the much appointed roots, rather we with Heiner Mueller could speak of "the bloody root "of the present. The nostalgia, which digs into debris and Gerümpel of world history for allegedly eternal values, is not anything as a utopia turned backwards. No time. No concrete place. Only vague memory brought on simple denominators and geschönt and all continual contradictions robs. Favourite formula of this thinking is the historical parallel, those the intersection of the lines, the meeting, the over cross of present and offence is afraid.

But nostalgia can be forbidden and/or can the prohibition be interspersed? To forbid one can do as well known much. A rhetorical question is natural. One can talk politically correctly, until one feels politically correct. One can be also scientifically correct. But one can outwit oneself not in the long term, also not by means of the ruse of the reason.

Completely wrongly it would be besides to talk the simple opposite to nostalgia the word: the presumption the past ago, as one still stupidly was and not like that progressive like today? Which one can do, is, to attach corrective one to show, that one it better white, to know can, than one generally does it. If one wants to deny nostalgia the memory monopoly, one must try her to strike with her own weapons. One can draw even. For example with the weapon of the disconcerting or directly the nightmare.

"The dream so called of a better world "is an empty phrase, which contradicts the practice of real dreaming. Nobody wakes up in the morning and says with the breakfast: "Favourite, I dreamed straight evenly about a better world. "One dreams always much alleged nonsense, one rolls problems, one is concerned, one works on unmachined, how the psychologists say. But in no dream interpretation book the entry "better world "will be. The reality of the dreams looks differently.

If we know everything, you will say and me will ask whether I want to boil the program up of the Surrealismus once again. A volatile view over the work issued here could put the close. For volatile looking are we however not here. The authority of the pictorial and graphic techniques, the fate relating to crafts, protects the spent trouble to us suggests to us more exact looking. Whereupon the artist can rely; that its pictorial mixture techniques and the quality of the erasures suggest an aura of the seriousness, which demands the eye differently, than the Sujets does it at first sight.

Höritzsch is born 1958 in Chemnitz. Its work seems to shift back every now and then into the time of the large and great-grandfather generation. In its artist book TRANCE, which forms the emphasis of the current exhibition, it confronts nine printinggraphic sheets to nine fragments expressionistischer lyric poetry. But the erasures do not try to take up the style expressionistischer art also not in form of a continuation or Parodie. That is often tried by publishing houses; to tie up expressionistische lyric poetry to expressionistische art, as if one can understand one only assistance of the other one, or - evenly straight not the other one: each Ismus in each case assistance of the same Ismus. That is however a mistake. One does not go to reading a Gottfried Benn poem today into the museum. One can do that, but one does not have.

Expressionistische lyric poetry was, constitutes its quality, more than a topicality-referred proclamation, which the contemporaries in it had to see and wanted. Since then a great deal years went into the country. The durability of the verses over Zeitläufte away, from which the authors could not suspect anything, is to be along-considered during the today's reading.

Höritzsch does this, by reconstructing the assembly character of many poems by quotations of historical illustrations from the Internet. It avails itself of the surrealen method, which became equally historical today, as it conquered the medium everyday life. We do not only experience today continuously material satire and material-grotesque, for which I must give up-to-date certainly no example, we experience also the material Surrealismus and the material Dadaismus, the material conference area.

As I spoke a while ago of the authority of the relating to crafts one, we must speak also of the authority of the media, from which with difficulty one can withdraw oneself. Bissel reverence always remains. A remainder of reliability survives all doubts about the television, about the Internet or at the newspaper, at the book. The pictures are nevertheless authentic, or? Even the placed behind. Or? Where did that come everything? From where wir's took? From which Fundus?

From the dreamed pictures we know at least that we dreamed them? It dreamed us about them. What has to mean that everything?

The Jürgen Höritzsch in its historical flash backs is noticeable the incomprehensible crimes of the totalitarian regimes of the past century into the view takes less, than rather the social side, the promises and rituals; not the state of emergency, but the rule.

That has to do probably also with the reality of the Neonazitums today - not only in East Germany -. The present right-wing radicalism gives itself mainly socially and everyday life-referred, while it unfolds a cynical ambivalence around the crimes of the years 33 to 45. Once they are denied, praised then again; they are secret the desired, while one dissociates oneself officially halfheartedly. The fact that in view of its with linear propaganda art little would be to be aligned understands itself automatically.

In addition, Jürgen Höritzsch leads us into the world of the frights inside, it leads the ridiculousness of the fascist desire machine before eyes. There is a waking up from the nightmare. And there is an hope in Höritzsch's art. A strange Attraktor.

Who is familiar as I with the work of Jürgen Höritzsch for a long time, him an old acquaintance to call will be allowed. They, Ladies and Gentlemen, see him in numerous pictures. The artist does not call it a symbol, but simply: a sympathy carrier. It is the hare. , Like said, old motive. In the eighties Jürgen Höritzsch published even a yearbook with diagram and texts, this title also. Oh, as gladly we became over the meaning of the hoppelnden associate now schwadronieren. By the fertility spirit over Albrecht Dürer up to Beuys, which explains the pictures to the dead hare, would be to be gotten there for the interpreter much.

I want to attach however to the interpretation as sympathy carriers and also to Ernst of the pictures, if I quote here last only the German folk song "between mountain and deep, deep valley ", which one finds also in Adornos "to minima Moralia "addressed, when a song with which he, Adorno, was always happy, the last Strophe, after the hunter shot the two hares: "? and they deliberated themselves that them still alive, lives warn, ran it from dannen. "- In hope that you, Ladies and Gentlemen, will run us not directly from dannen, I would like to congratulate to Jürgen Höritzsch to this exhibition and the gallery in the tower for the possibility of being present here to thank.

Hans Brinkmann

please excuse the automatic translation !