{"id":24136,"date":"2002-04-22T13:53:15","date_gmt":"2002-04-22T11:53:15","guid":{"rendered":"https:\/\/museumdkm.de\/?p=24136"},"modified":"2022-03-07T15:02:52","modified_gmt":"2022-03-07T14:02:52","slug":"haus-ur","status":"publish","type":"post","link":"https:\/\/museumdkm.de\/en\/haus-ur\/","title":{"rendered":"Haus ur"},"content":{"rendered":"

Haus ur<\/h2>
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GREGOR SCHNEIDER<\/h5>\n<\/div><\/div>

22.04.2002 \u2013 17.06.2002<\/p>\n<\/div><\/div><\/div><\/div><\/div>

\"\"<\/div>
Gregor Schneider, Exhibition view Gallery DKM<\/div>
Photo: Werner J. Hannappel<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>
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Haus ur<\/span>: Time and Duration<\/span><\/strong><\/p>\n

Wall in front of wall, floor on floor, room in room: <\/span>Haus ur<\/em>, <\/span>Gregor Schneider\u2019s work-in-<\/span>progress since 1985<\/span>, <\/span>consists in the duplication of that which is already there\u2014it is the site of <\/span>a material- and labor-intensive productivity that consumes itself insofar as the built-in spaces <\/span>are the same as the original ones. Consequently, the actual, original existing living spaces are <\/span>obscured and hidden. They become spaces of an impossible presence, the familiar turned <\/span>inaccessible and uncanny. Schneider imagines two extreme modes of perceiving his <\/span>construction. It may be that a visitor is not aware at all of being in a coffee nook that has been <\/span>built into the existing one, the window of which is lit from behind with a lamp to simulate <\/span>daylight. Curtains blow in a fan-generated breeze. Only those who gain access to the <\/span>remaining corridors between the original and the retrofitted building can get behind them<\/span>\u2014<\/span>at <\/span>the risk of opening the wrong door at the wrong time and plunging into a deadly abyss. But <\/span>the nesting of repetitive components has progressed to such an extent that even from the <\/span>interstices, it is not possible to distinguish with any certainty between the original and the <\/span>reproduction. <\/span>For the 2001 Venice Biennale, Schneider re-built the rooms he had been <\/span>building for years in the house on Unterheydener Stra\u00dfe into the German Pavilion\u2014just as he <\/span>had done deplacements on a smaller scale for several earlier exhibitions at different venues. <\/span>The original structure is replaced by the respective exhibition architecture, which is again <\/span>concealed by the built-in elements, and new interstitial spaces are created behind them.<\/span><\/p>\n<\/div><\/div>

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The two immediate experiences of Haus ur <\/span><\/em>correspond to two types of role=”presentation”> photographic <\/span>reproduction. Some find Schneider taking central perspective, static photos of the <\/span>Kaffeezimmer <\/span>(coffee room)<\/span><\/em> in which he stages different lighting conditions, times of day and <\/span>moods; in others, he records the room over a longer period of time with an unmoving video <\/span>camera. Only a light flutter of the curtain disturbs the otherwise perfect tranquility of the <\/span>recording. Duration and a certain uneventfulness characterize the state of the room as it <\/span>appears to the unsuspecting visitor. Then again, he takes a large number of snapshots of all <\/span>the details that appear on the backs of fittings, in the spaces between them, showing materials <\/span>and objects that have been deposited and stored. Clearly-labeled amateur videos (again, <\/span>recorded by Schneider himself) show what a person gets to see while squeezing through the <\/span>narrow corridors between the built-in and original walls, aided by a lamp and a great deal of <\/span>strenuous physical effort. We hear heavy breathing, and the disturbing sound of objects being <\/span>knocked around. Time begins to move. It is the time of the space hidden behind built-in <\/span>elements, the time of memory. And yet its construction is marked by inexhaustibly renewed <\/span>sense of postponement: aspect follows aspect, detail follows detail, object follows object, <\/span>brought out of the dark, dropped back into the dark. Production of a coherent image is <\/span>endlessly delayed.<\/span><\/p>\n

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Photography and video are media of reproduction and deplacement. Schneider occasionally <\/span>employs them to reveal the identity of an added construction in <\/span>Haus ur <\/span>and to offer evidence <\/span>of it in an exhibition setting: The superimposition of one space by an identical one is extended <\/span>by the presence of that same space in different locations; the difference between locations is <\/span>hidden by a representation of the same, built-in elements using identical recordings. <\/span>Conversely, Schneider has also brought his amateur videos from the interstitial spaces and <\/span>projected them in newly-created rooms behind the constructed fixtures at several exhibitions, <\/span>thus reproducing what they lack of the original site. <\/span>Above all, however, the artist uses photos and videos to retrospectively explore the essence of <\/span>spaces that are superimposed on one another. His practice doubles what exists in the same <\/span>place, the essence of these spaces, which a visitor to <\/span>Haus ur <\/span><\/em>experiences as<\/span> two extreme <\/span>forms of immediacy: in complete misrecognition of its reality or in its total, deadly <\/span>experience. To this end, photo and video are media for reconstructing the times of the house. <\/span><\/p>\n

<\/div>\n<\/div>\n

Uneventful duration defines the space that takes the place of the original one, where the unsuspecting visitor arrives to drink a cup of coffee and engage in chit-chat. An endless <\/span>movement of postponement, but also the time of memory – the time in which the hidden-<\/span>away space manifests itself<\/span>.<\/span><\/p>\n

<\/div>\n
Ulrich Loock<\/span><\/strong><\/div>\n

\n<\/span><\/strong>Translation: Amy Patton<\/span><\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>\n","protected":false},"excerpt":{"rendered":"

GREGOR SCHNEIDER (DE)
\n22.04.2002 \u2013 17.06.2002<\/p>\n","protected":false},"author":5,"featured_media":22929,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[70,31,222],"tags":[],"class_list":["post-24136","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exh-archive-gdkm","category-exhibition","category-pk-gs-en"],"_links":{"self":[{"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/posts\/24136","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/comments?post=24136"}],"version-history":[{"count":18,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/posts\/24136\/revisions"}],"predecessor-version":[{"id":33793,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/posts\/24136\/revisions\/33793"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/media\/22929"}],"wp:attachment":[{"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/media?parent=24136"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/categories?post=24136"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumdkm.de\/en\/wp-json\/wp\/v2\/tags?post=24136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}