malerei grafik buch

jürgen höritzsch

painting • printmaking art • book art

Speech for the opening of the exhibition TRANCE in the municipal gallery Vilshofen
Speech for the opening of the exhibition "Mysterium" at Gellert-Museum Hainichen

Excerpt from a speech of Hans Brinkmann about the artist book LETTERNBRUT in the gallery Borssenanger, Chemnitz, December 2nd 2009

LETTERNBRUT - the word lets the read fruits so called think of breeding over the books, of strict self-instruction, the text as egg, the reader as chicken and the yield of the whole one, as a heap of Küken; dottergelbe pageant, which one knows, with egg shells at the back under the heat lamp, so shrill and loud all together, which one does not come no more to thinking?

But brood is certainly also those adversely to bad name for usually different people children, there swings making nervousness also, occasionally also the almost fright, if one realises for instance the horror film classical author "the village of the condemned ones", in which the brood from the other "bad" planet comes, or, in order to mention still further classical authors: "The omen" or "Rosemaries baby" or, or?

And if we are already times thereby, brood lets think logically also on "brutally". - Universe swings also, if we open the book, on whose cover a warning reflector is to be seen, a "cat eye so called", like wir's from bicycles and Schult ashes, here however with a small bird in it. Comfortably is which other one.

And just as disturbingly the remaining visions feel, which the artist in its erasures causes. No doubt, we are in the realm of the dreams. But of another world than the ours they act only conditionally. Which concerns the literary, then there are two kinds of text in this book: the writing in the picture and the writing outside of the picture. One could say, the picture stands and/or develops between the lines. While the caption commentates the procedures from the outside ago, almost repeated, the word is or is the words in the picture usually hidden messages, writing at the wall: Writing on the wall. They do truth kund, which is hidden, untergründig, puzzlingly.

But, one asks oneself, they betray which truth? - Three martialisch einherstapfende soldiers for example before the signature "hunter master"?, is to be called, it are on the hunt? Or no longer soberly, which would be understandable? Or is conflict, which state of emergency, in which they obviously are, more global?

"Hunter master" is nevertheless an international mark. The wall may remind the soldiers of the citizens of Berlin wall, is more modern types. And which has the dancer up there to mean; the embodiment of a liquor idea, in parentheses: the liquor idea of the freedom? Or unattainable sober its? Schlafwandleri security in wackliger position? What wants it with the tire?

The dream does not know shame when expressing truths, it differentiates not between deep and flax-intimate answers, but plappert like a child mouth drauf loosely. It expresses everything, as it comes over the lip. Therefore dreams are often so embarrassing that one rather keeps and fast forgets them for itself. Embarrassingly in the word original meaning: painfully, torturing.

It is interesting that in the captions chain words are used. Title of the work is always a only one word built up from single terms, whose concatenations invite several times to jump back during the reading and pull other parts together, than the first impression puts close. They are called about: WILDKNABENLUSTGEWINNSUCHTPUDELSKERNKRAFT or: SCHÖNUNDIRGENDWERWOLFSELBDRITT.

In this kind more thorough, also more arduous reading is naturally provoked and before-built for Jünger stepping away with the reading, from which initially the speech was. In addition and curving view of these tapeworm words is toward collection of the whole one as the details directed and thus rather regarding the picture similar as pursuing a linear narration. The function of these a word texts reciprocates between description and comment.

The diagrams of Jürgen Höritzsch realise history, contemporary history, experiences of the everyday life and of obligations, by sudden emerging of unexpected Realien in an otherwise consistent narration. Suddenly there is a tear in the film and comes somewhat - an intruder - from the film tear crept, runs in the picture and is again away. Or it remains there and disturbs permanently. In addition, if it leaves again, it disturbed nevertheless effectively.

Thus emerging the word "courage" consolidates the experience in the vanishing point of the underground palace architecture of the Muscovites Metro - a Traumambiente absolutely - that Mutlosigkeit is not strongest, where the courage is put to the test, but, where one establishes monuments as it were to it: empties a resounding and/or empty resounding, where one quietly places it, while Motorradfahrer Kraft and vain Pudel represent beauty in the prosperity, in truth however rather to Trostlosigkeit?

The balance of Höritzschs pictures becomes delicate by the circumstance the fact that we can never decide exactly, whether by the sudden is broken open penetration of the strange one a pseudo idyllischer condition and exposed rather uncomfortably or whether nevertheless rather desert the ambience unfolds only on the interruption its will to the idyl, whether thus the good old time remembers, those one gladly, also a terrible drawback has or whether this time does not only mediate to its frightening side today so well and so old and so gladly reminded can stand there. Whether the will to the cosiness not break but result of the terrible one means. If one wanted to bring it on a short formula, "terror and Operette" would present themselves.

But the task of the art consists not of locking the realizations conceptually unfolding but their contents to open how also the sense of my speech cannot consist of pushing books to but it.

please excuse the automatic translation !