Zeichnung (462) aus DIE BASIS DES MAKE-UP

"Das Grab von Kasimir Malevitch zierte ein auf einen zurückversetzten Sockel aufgestellter würfelförmiger Steinblock, in dessen Vorderseite ein Quadrat aus schwarzem Stein eingelassen war. Es sah aus wie ein Monitor der ersten PC-Generation, auf dessen schwarzen Bildfläche sich alles – alles Denkbare, Sichtbare und jeder Prozeß – von außen von einem Betrachter, aber auch von innen aus der Dichte der Materie des Steins heraus, projizieren ließ. Die Grabstelle wurde im II. Weltkrieg beim Vormarsch der deutschen Truppen auf Moskau zerstört. Hier sieht man den Grabstein im Juli 1945 am Ort der ersten Atombombenexplosion, einem Testgelände in New Mexico. Robert Oppenheimer ist in der bis zum Horizont verbrannten Landschaft zu Besuch und sieht sich mit der Anwesenheit eines neuartigen Geschlechts konfrontiert: ein Unterkörper auf den hölzernen Beinen eines stummen Dieners, mit hochwehendem Röckchen über einer quadratischen, osmotischen Fläche." (Aus: arsenal, juni 09).

(1993) 

Drawing (463) from THE BASIS OF MAKE-UP

"A hammer stroke on an unwrapped sandwich, which then lurches down onto the naked chest of a beheaded man, in the direction of the arrow. Malevich's tombstone with the black square can be seen on the intersection of the man's throat, like a planted face. Beneath it to the left is a folded pair of trousers in front of the white iron bedstead where my mother gave birth to me. The Traber family of acrobats balances on a tightrope above the rubble of a big German city. The rope is attached to the bonnet of an Elim deaconess, who was my aunt and my mother's midwife. The air is full of differently-shaped hammer heads. Secretly, I reproached this aunt for deforming my ribs when I was born. A particularly eccentric interpretation of a birth trauma. In reality, I only had the English disease because of the rampant shortage of vitamin D after the war. Every morning, I had to swallow a spoonful of cod-liver oil for it but this did not help a jot." (From: arsenal, march 12).

(1993)

Zeichnung (464) aus DIE BASIS DES MAKE-UP

"In der Eingangssequenz des Films Der Zynische Körper stürzt der Lektor Roy, gespielt von Klaus Behnken, aus seinem Bett und bleibt davor liegen. Er greift in die zerwühlte Bettwäsche, findet darin eine Zigarette, zündet sie umständlich an und beginnt zu rauchen. Dabei streichelt er ein großes, rotes Notizbuch wie einen Fetisch. Aus dem ins Bild gehaltenen Hinterteil eines neugeborenen Babies entweicht Mekonium, grünbraun-schwarzes Kindspech, das am anderen Ende des Wortes als Opium pfeilförmig in den Mund von Roy eindringt. Ein Mann wird zu seinem Glück gezwungen, aber es ist zu spät. Vor seinem Kopf zwei Freistilringer auf dem Pyramidenstumpf einer Kohlenhalde, die mit einer Leiter zu besteigen ist, in Berlin-Tegel zu Zeiten der Mauer. Das war einmal eine Definition von Schönheit. Ein Mann zeigt mit dem Finger auf das in kochendem Wasser eingelaufene Modell einer wollenen Kostümjacke. Die Zeit schrumpft in dem Maße, in dem sie sich ausdehnt. Sie setzt uns dabei ebenso zu, wie wir von ihr ablassen sollten. Kein Trost, nur ein Modell." (Aus: The End, Disko 22, 2011).

(1993) 

Zeichnung (466) aus DIE BASIS DES MAKE-UP

"Sturm von rechts, Kugelblitze von links, Neill Armstrong's Fußabdruck auf dem Mond. Eine geäderte Stiefelette, eine Bunkeranlage bei Verdun aus dem Ersten Weltkrieg, Muster aus Perserteppichen als Bordüre und Himmel. Charon überquert den Styx, 1524 gemalt von Joachim Patinier. Hamburg, 16. März 1982, vor zwei Wochen ist Philip K. Dick gestorben. Demnächst erscheint Blade Runner, der Film von Ridley Scott nach seinem Roman Do Androids Dream of Electric Sheep von 1968. Man hat ihn nach seinen Schlaganfällen im Februar so lange an lebensverlängernde Maschinen angeschlossen, bis die durch den Geldsegen aus Hollywood kompliziert gewordenen Erbschaftsangelegenheiten geregelt waren. Wie in einem seiner Romane. Vor einem Jahr hat er mich gerettet. Mitten in einem depressivem Schub traf ein Vorausexemplar seines neuen Buches Valis in meinem abgedunkelten Hinterzimmer im Zippelhaus ein, mit der Widmung 'AN Heinz - EIN guter Freund. Leb' wohl! Philip K. Dick 1/19/81.' Auf dem Cover des Buches der Gekreuzigte als Rakete. Die Sendung hat gewirkt." (Aus: Zeichnung oder Film, 2013).

(1996) 

Drawing (467) from THE BASIS OF MAKE-UP

"Handwriting that had been scrawled over a crumpled photograph of the main street of a small town in the Midwest of 1950s America, made unreadable by whiteout. If all thought could be attributed to a system, that which appears on its surface as language would merely be the tiny segment of a spherical surface and as irregular in its structures as the surface of our whole planet. The surfaces of being, both universally and drearily accessible to the technological image - here they are once again broken. The gravity of thoughts aiming at an invisible core, and the projections of the writing, originating from this core, that is declined on the surfaces of all objects. A weathered language, SECOND CLAUSES that occur without our assistance. We could have experienced all this together. Now it's too late. Two fingers of a hand operate the X-ray equipment of a cancer research centre. A drink from a cup of hemlock. The poisoned person suffocates while fully conscious." (From: Black Blocks, Cinema Scope #46, 2011).
(1984)

Drawing (468) from THE BASIS OF MAKE-UP

"The exploration of what is invisible takes place underground and is hard to communicate. Cancer research as a synonym of science, its object the human for whom life has become uncanny. The announcement of diagnoses. Time turns into a fetish, expected life times are predicted, periods of decline are asserted. Two women wearing black and-white wrap dresses in front of the open doors of the X-ray cellar of the cancer ward at the university hospital Eppendorf in Hamburg. After a photograph by Graciela Stania, who wanted to defend herself by means of photography. A fire alarm, walls, and a window hole. Burial chambers in which research is conducted on the living body. On all spatial levels, enlarged characters from the text of the film Normalsatz, in which a fate was demanded and proclaimed. Writing as a grid and a transparent ornament through which we gaze at a world beyond perspective. Wrought iron, establishing a brutal order, as an osmotic layer." (From: Black Blocks, Cinema Scope #46, 2011).

(1984)

Drawing (469) from THE BASIS OF MAKE-UP

"A framed black tear, a wooden stamp, a fountain pen, two "fingerprints" and the title Der Füller (The Fountain Pen), which has been written with a brush and is superimposed with a female hand that strokes the edge of a wall-to-wall carpet under which she has swept everything. Moreover, there is a close-up of a cross-section of the carpeting. Between these facts are three paragraphs of a text can be seen - written in the US in 1974 but not completely deleted. Tabula rasa is something for teenagers, or "old" girls of both sexes. A dream cannot be continued. Its combined elements are so original, unique and impossible to repeat or recreate, or reassemble in a compatible manner. A dream is much more like a bottom surface and the opposite of repetition even if it thinks it can recognize itself in itself. It is a unique performance in an empty theater about an accursed protagonist watching himself as he sleeps." (From: arsenal, january 13).

(1984)

Zeichnung (470) aus DIE BASIS DES MAKE-UP

"Text under construction"

Ein Graubrot auf zwei Neonröhrenstelen. Der überzüchtete Arm und die Brust eines Bodybuilders. Ein elektrisches Heizkissen. Ein Pyramiden–Kostüm. E = Elvis Presley. "I am the kitchen" verstand ich in einem seiner Songs, statt "Hide in the kitchen".

(1983) 

Drawing (471) from THE BASIS OF MAKE-UP

"The embalmed corpse of Elvis Presley laid out among a trellis of little toes. In his 1960s song Stuck On You, I understood 'I am the wall' rather than 'Hide in the hall'. That’s how we used to learn English back then, by trial and error while listening to the British Forces Network hit parade in northern Germany. I was standing at the railway embankment when Elvis was transported from Bremerhaven to southern Germany on the Flying Roland in 1958. Bill Wyman was just completing his military service in Oldenburg. Baby legs drifting off symbolize the soul of Elvis. A carousel with dead fish hanging from its chains was turning to his songs. Adolescents started making out at the 'Caterpillar'. The most daring of them used to wear bright blue blousons with tigers embroidered on the back. I fell in love with a young English soldier called Storky, who had to carry out a military exercise near our place at the railway embankment and lived in a combat tank. I used to give him pears from our garden and didn’t get anything back from him in return." (From: arsenal, february 19).

(1983) 

Drawing (472) from THE BASIS OF MAKE-UP

"Dial NERVOUS for the Time: in the 70s, dialing the letters of the word "nervous" on New York telephones would give you 637868770, the number of the speaking clock. Nervous Nuts and doped-up junkies: an office scene with four models staged as a caricature of business life – an advertising photo from the period for the drink Hohes C – at some point shortly before heroin and cocaine replaced the vitamins previously handed out on management floors and in real estate offices, thus allowing cynicism to become real. Hazelnuts in all combinations of positive and negative, a telephone conversation being held with the biggest nut there, with an assistant with meticulously blown-dry hair on hand with a shorthand notebook at the ready, behind her a cross-eyed boss idolized by his trainee with a suitable sense of devotion. There is no object at the centre of the image, but rather an imaginary framework of lines of sight, holding this society together with a voice from the other side which is by no means as civil as it sounds: 'One final push if you want to be Republicans.'" (From: arsenal, september 13).

(1978)

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