What are some unusual Hilbert rooms

YOUNG UNREST

CLAUS BRUNSMANN & EVA SCHWAB

painting and sculpture

3 - 12 july 2020

SPECIAL ON SATURDAY, JULY 11th, 7:30 PM:
"FAZZOLETTO PER UN ETERNITÀ"
VINYL PERFORMANCE BY GABI SCHAFFNER

The shimmy-sha-wabble was once a well-known dance that gained some popularity with the advent of jazz. First he was presented at fairs and fairgrounds: on the stages, the Hochy-Koochy's buttocks wobbled, the legs were stretched, the torso bent, the shoulders shaken and people strutted up and down the stage in the cockpit. Shimmy, bump and grind, hip circles, muscle twitching and strutting, the astonished visitors at the world exhibition in Chicago in 1893 went wild with excitement at the sight of the unusual performances, which were performed by Afro-American artists. The new fashion dances spanned a wide arc beyond the time of slavery into the past ritual African traditions and formed a reference to one's own history, which could be remembered in the dance ritual. As a fashionable expressive dance, now called “Shimmy” for short, it picked up speed and appeared in Europe just in time for the golden twenties. With coquettish nonchalance as a place dance performed in a comically shaky manner on the spot, the Shimmy was a huge success in Paris and Berlin.

Junge Unrast is also such a motor: a coming together of two sides that face each other and at some point find a center. This is how we move through the exhibition.

For me, young unrest was always a boy whose name was unrest. It's an unusual name: restlessness. One who can't get enough. One who is restless. Who the others say: he's hungry, the boy!

Once, before my academy days, during my community service, there was a copier in the hall in front of my room. I put envelopes in the paper compartment, printed the photo of Hardy Krüger in front of the Brandenburg Gate and pictures of Joseph Beuys ’Plight installation on them, and sent letters from the island of Berlin to West Germany.

It is inscribed in Baudelaire's dictum that one should always be “absolutely modern”: the imprint of modernity, namely to be modern. One shouldn't look at the old. The stupid thing is that you get older and still want to be modern, that is, contemporary. Because good art does not have to be, or cannot be measured by will, but by the authenticity of its contemporaneity.

In the case of Oscar Wilde, the picture ages, becomes ugly and grumpy, while the sitter remains flawless, at least for some time. Then everything becomes tense.

Animals have difficulties recognizing their own counterpart in the mirror. Often they turn away after a while or react awkwardly with conspicuous threatening gestures. In this case, they have failed the mirror test.

Contemporaneity is nothing different in Paris in the nineteenth century than in Berlin in the twenty-first century: Kraftwerk sang “Man, Nature, Technology” at the Expo 2000.

People, nature, technology. The themes remain related, the stories are similar. Only the voice is modernized. The inner motor of the whole thing, the motivation, is and remains the young restlessness. The painter's desire to shape, to “shape the world as a picture”. Whether images let an urge to realize one's own life flow directly into the fresh color, as in the case of Eva Schwab, or whether images are brought to you from outside, as in the case of Claus Brunsmann and his A.R. Paintings. The truth of work lies in being: in direct contact with extraterrestrials or normal humans.

Contemporary is a bridge into this nature. Even the light that is reflected in the water by the sun speaks of it.

Text by Claus Brunsmann