A collection of memories,
dreams, reflections.


Selective perception and/or small instances of synchronicity – a short chronology

Seestück (1970). Gerhard Richter. Öl auf Leinwand.

A remembrance of coincidences...

Exhibit A: Gerhard Richter at Neue Nationalgalerie

I only recall the date because I turned a quarter of a century old and had a pressing urge to be alone – free from the bindings of time, sequence and others.

Somewhere standing in the midst of the abrupt slashes of colour and lines in Atelier (1985), the pulsating gray-scale waves in Seestück (1970) and the seemingly monolithic canvas in Grau, 349/2 (1973), which were hung from left to right respsectively, I felt the magic of idea gestation stirring from right to left. 

Exhibit B: Watching Der Baader Meinhof Komplex

Some weeks (or days?) after, probably on a Sunday, I was saying to my flatmate that I'd never watched Tatort because handling the suspense/gore during a crime television show is not my best skill (as in I can't). Then, I shared my plan of watching Der Baader Meinhof Komplex later that evening to practice my German... she responded saying that the movie was a lot more violent/graphic than Tatort. Something along the lines of "Beware".

I watched it anyway (and cringed... a lot). 

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Glauben Sie nicht, dass ich eine Amazone bin, 1975

In this black and white video installation – which spans about 11 minutes – German artist Ulrike Rosenbach shoots 15 arrows from a bow at a reproduction of Stefan Lochner's "Madonna of the Rose Bower". Each time the arrow strikes the head of the medieval Madonna, it also simultaneously strikes the face of the artist, which is overlaid on top. Rosenbach's steady process of raising the bow, pausing carefully to take aim at the target and then releasing is repeated again and again... but it's anything but repetitive. 

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From the lows, from the highs

I hope this discriminate digital pastiche, alongside my erratic journal entries, will help me remember, keep in touch. And I hope I am as shamelessly selfish as I sound... for the sake of remembering what these days felt to me. And remembering what it felt to be me. 

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Hans Baluschek, Montagmorgen, 1898

Die letzte Woche.


Experiencing Koloman Moser 

Somewhere between 'The Secession' and 'Expressionism' in Wien Berlin hangs a bright-coloured mountainous landscape painted by Koloman Moser. It was my first exposure to the Austrian artist and I can barely remember what I saw...

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