Zeichnung (513) aus DIE BASIS DES MAKE-UP

"Ein Hotel in Galveston, Texas 1989, das Ende der Welt. Ein Sturm fährt durch die verbrannte Landschaft von Iwo Jima. Eine Riesenwelle ist im Anmarsch auf eine Hütte auf Stelzen. Darüber ein dicht über dem Boden schleifendes, enthäutetes Gesicht, dessen Stirn in die schwarzen Orkanwolken hineinreicht. Aus dem Antlitz quellen Adern, Nervenstränge und Muskeln, an denen wilde Hunde zerren. Die Augen sind geschlossen, das Gesicht verharrt in gleichgültiger Trance. Der Wirt und die Bedienung der Melancholie ist der Mensch. Er vererbt und überträgt sie. Die Zeit als einen Stoff begreifen, der verschiedene Texturen aufweist. Sie gleitet vorbei, und sie ist sperrig. Die Verwahrlosung der Zwischenräume. Ich sah mich wochenlang zu festgesetzten Zeiten am Tag den Hund ausführen. Dazwischen eine Raserei von Zeit, die es mir unmöglich machte, mich an irgendetwas zu erinnern. Ich lebte in einem Zeitraffer. Ich habe spät begriffen, daß die Zeit ein Geschenk ist. Aber dieses Wissen konnte sich gegenüber ihrem Tun nicht behaupten." (Aus: flypaper #5, 2010).


Zeichnung (514) aus DIE BASIS DES MAKE-UP

"Schmale Stores aus hellgrünem Slime hängen vor der Brüstung einer steinernen Terrasse. Die Mauer endet in zwei mannshohen, in Positiv und Negativ ausgeführten Pokalvasen aus Porzellan (DE = Depression). In der Ferne im Monsterpark von Bomarzo aus einer Wiese aufsteigend der steinerne Kopf eines Delphins mit aufgerissenem Maul. Ein weißer Leonid-Breschnew-Sessel wird nach seinem freiem Fall einen Marcel-Breuer-Freischwinger zertrümmern. So liegt schon alles in der Luft, aber noch gilt die Zeitspanne einer relativen Idylle. Dann wird ein Schalter umgelegt, und auf der Terrasse erscheint ein menschlicher Kopf, dessen Schädel über den Augenbrauen horizontal glatt abgetrennt wurde. Auf Höhe der Schnittfläche überschlägt sich das Gehirn als weiße Riesenwelle. Von unten ins Bild ragend ein umgedrehter Tränenfluß aus dem Slime eines Theaters. Wieder nur der Versuch, ein Koordinatensystem in die Quantenwelt der Gefühle einzuführen. Im leeren Raum kollidierende Blicke, deren Neutrinos für Millisekunden eine Welt von Objekten errichten." (Aus: Zeichnung oder Film, 2013).


Drawing (515) from THE BASIS OF MAKE-UP

"The fish monster from the Gardens of Bomarzo with a carpet pattern and its negative inversion within its open mouth. The matching carpet used to hang in the Victoria and Albert Museum in London, where I would go and see it as often as possible. Six salmon spring from a roaring river on their way to the spawning ground upstream, osmoregulation to manage the shift from seawater to freshwater. A shed wall with a three-part window whose blinds are half-drawn forms the current door to hell, there’s no suppressing it. A troop of Islamic Black Widows practice their target in no man’s land. Killing people is like shooting birds, which applies to all involved. The voracity of nature, people turned to stone, visions in the belly of monsters. Within the eye of the beast, the reflection of a passing cloud can be made out, with the sun’s rays shining behind it. It’s still early in the morning and the atoms are only slowly assembling to decide to get up early once again in order to pass through the door." (From: arsenal, march 16).


Drawing (516) from THE BASIS OF MAKE-UP

"A unit of Russian engineers in Cuba marching towards the construction site for a rocket launching facility, shortly before the Cuban missile crisis in October 1962. They are framed to the left and right by the two halves of an x-ray of a human body, which is being shredded by falling Tetris formations. A torn-off umbilical cord hangs from the sky and holds up the raft of a blind passenger marooned before the coast of Somalia. A recollection of the victims of the Argentinean military dictatorships of the 70s and 80s, who carried their opponents in airplanes and cast them out over the sea from great heights while still alive. It is the power emerging from the periphery that frames this sketch, whose centre is empty. This power trusts in its own implosive radiance, no longer represents anything more and attempts to gain recognition as a deliberate much ado about nothing. Argentinean General Menendez mentioned the numbers in advance: 'We will have to kill 50,000 people: 25,000 subversives, 20,000 sympathizers, and 5,000 as the mistakes we will make.'" (From: arsenal, november 14).


Drawing (517) from THE BASIS OF MAKE-UP

Drawing (518) from THE BASIS OF MAKE-UP

"Berlin, July 12, 1998. On the right, an American hydrant in flames, on the left, the Brazilian midfield player Leonardo Nascimento de Araújo with a tear-stained face and his fingers at the tip of his nose after the lost World Cup final between Brazil and France. This was the occasion for my film Leonardo's Tears a.k.a. Grace Jones (1986-2010). In between and as the background, two falling soccer players with their legs caught up wearing socks and cleats from adidas along with a ruined, antique equestrian statue from the Santa Barbara Museum of Art as a negative. During the match, I held the nozzle of a vacuum cleaner to the TV screen in an attempt to suck energy out of the images of the French soccer players. I simultaneously bestowed my breath upon the Brazilian players through a blow tube - unfortunately in vain. The deliberate poisoning of Ronaldo by a French cook annihilated the effect of my homoeopathic doses from the onset." (From: arsenal, february 11).


Drawing (519) from THE BASIS OF MAKE-UP

"Ladora, a small town on Highway No. 6, is an icon of the Midwest. US presidents have enjoyed posing there in front of the old grain silos and under the water tanks on the railroad to demonstrate their bonds with this Bible Belt community that has predominantly German origins. Under an oak tree in the middle of the village is a memorial stone for two young men who lost their lives at the capture of Iwo Jima in 1945. Perhaps they can be seen on the picture W. Eugene Smith took of the blasting of a Japanese bunker on the burnt earth of Iwo Jima. Parts of the photograph are juxtaposed with the fragment of a Roman sculpture of a horse. The idea of Rome remains red-hot for all empires today. The great power of China with its gangs of building workers is industriously copying Roman road construction in Africa. At the front of the picture, priests are ordained at the Vatican where structures of sovereign states are poignantly spoofed. For the record: The ground under the 'dust' in which they throw themselves is compiled of marble intarsia." (From: arsenal, april 2012).


Drawing (520) from THE BASIS OF MAKE-UP

"China, the construction of the dam at the Yellow River through manpower. History is written on the backs of humans; at times they can even decipher it. GUL = GHOUL = GHUL = Brute = Monster. HYS = History = Hysteria. Progress and its victims exemplified by automated chicken slaughter: head chopped off, pipe in the anus, and the giblets blown out with compressed air. All democracies in the Western world since the Greeks are based on slaveholder societies. The outsourcing of value creation is a long-established cultural ideal. Even the very last proletarian profited from being allowed to feel a racist sense of belonging to a value-creating community. That's where the Janus-faced nature of social revolutions has its origin. As long as capitalism hadn't asserted itself globally, human resources that closed their minds to its wisdom were allowed to be destroyed with the blessing of the church. At the bottom left, sadomasochist telephone sex that approaches this situation in a playful manner." (From: Black Blocks, Cinema Scope #46, 2011).


Drawing (521) from THE BASIS OF MAKE-UP

"Gates of Heavenly Peace grant direct access to the opposite, sometimes also via detours. Politics preaches this in its deeds. Soldiers stand in line in the goal of a soccer field in China, the site of a mass execution for the purpose of educating the people, which the Stalinist alehouse politicians also praise as a necessity. Another picture of nature: clouds and their shadows over an agricultural landscape in the Midwest of the US, 1998. A squashed landscape, tracks across fields form swastikas that can be recognized very clearly. In reality, everything comes together that does not belong together. The staff of the real and their melodies become exhausted in attempts to illustrate humanity. Would Madonna be able to reinvent herself once more? One wishes she could. It is also good to know that she would be able to. Strength considers nothing to be beneath itself, the networks declare their infinity. Drifting clouds. Their shadows and that of the airplane in which we crash, over potatoland. We have lost our market niche." (From: Black Blocks, Cinema Scope #46, 2011).



Drawing (522) from THE BASIS OF MAKE-UP

"At the regulars' tables, late capitalism leads to the highest emotions. Political Darwinists can't find anything bad about what is forging ahead at a safe distance. From that distance it is declared that there is no alternative to the revolutionary designer state. Twenty-nine half-naked and bald Chinese recruits in the S.C. Johnson Administration Buildingin Racine, Wisconsin, which was designed by Frank Lloyd Wright in 1935, prove what it's all about through the fact that they are well-fed. The columns of the open-plan office act as stalactites of reason, finally a roof over one's head. A stake for burning people from the Thirty Years' War appears from the left. Propagated time and again and welcome to be witnessed from afar: the exploitation of humans for a cause. A movement and it's dead, a raging nature and a history blazing up in cycles: society as a beast, the lacerated skin of civilization. And those to whom it happens have the last thought: 'All this just can't be true.'" (From: Black Blocks, Cinema Scope #46, 2011).