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Roman Signer Xlviii ROMAN SIGNER XLVIII. Biennale di Venezia 1999. Svizzera 3 Erscheint anlässlich der Ausstellung im Schweizer Pavillon im Rahmen der Biennale in Venedig 1999 Publié à l’occasion de l’exposition au pavillon suisse dans le cadre de la Biennale de Venise 1999 Pubblicato in occasione della mostra nel padiglione svizzero, allestita nel quadro della Biennale di Venezia 1999 Published for the exhibition at the Swiss Pavilion as part of the 1999 Venice Biennale Ausstellung / Exhibition Kommissär / Commissioner: Urs Staub Vizekommissär / Vice Commissioner: Konrad Bitterli Pressebetreuung / Press support: Oliver Wick Photographie / Photography: Stefan Rohner Sprengtechnik / Explosive support: Günther Schwarz, Roman Signer Technische Betreuung / Technical support: Urs Burger, Arthur Clerici, Stanislav Rogowiec, Tiberio Scalbi, Roland Sutter Videotechnik / Video support: Aleksandra Signer, Videicompany, Aufdi Aufdermauer, Karin Wegmüller Katalog / Catalogue Konzeption / Conception: Roman Signer, Peter Zimmermann Redaktion / Edited by: Konrad Bitterli, Matthias Wohlgemuth Übersetzungen / Translations: Jeanne Haunschild (e) Diane de Rahm (f) Monica Nolli-Meyer (i) Gestaltung / Design: Peter Zimmermann Videobilder / Videostills: Aufdi Aufdermauer, Aleksandra Signer Satz, Lithographie / Typesetting, Lithography: Nievergelt Policom AG, Zürich, Peter Zimmermann Graphic Design, Zürich Druck / Printed by: Lichtdruck AG, Dielsdorf Einband / Bound by: Buchbinderei Burkhardt AG, Mönchaltorf Herausgegeben vom Bundesamt für Kultur, Bern, im Verlag Edition Unikate, CH-8027 Zürich Published by Swiss Federal Office of Culture, Berne, with Edition Unikate, CH-8027 Zürich © 1999 by Bundesamt für Kultur, Bern, Roman Signer, St. Gallen, Konrad Bitterli (Text) ISBN 3-908617-01-4 Printed in Switzerland 4 INHALT / SOMMAIRE / SOMMARIO / CONTENTS Konrad Bitterli EREIGNIS-SKULPTUR – Roman Signer an der 48. Biennale in Venedig . 7 UNE SCULPTURE-EVENEMENT – Roman Signer à la 48e Biennale de Venise . 15 SCULTURA EVENTO – Roman Signer alla XLVIII Biennale di Venezia . 23 EVENT-SCULPTURE – Roman Signer at the 48th Biennale in Venice . 31 INSTALLATIONEN AN DER BIENNALE IN VENEDIG / INSTALLATIONS A LA BIENNALE DE VENISE / INSTALLAZIONI ALLA BIENNALE DI VENEZIA / INSTALLATIONS AT THE BIENNALE IN VENICE . 39 ARBEITEN FÜR DIE BIENNALE IN VENEDIG / PIECES POUR LA BIENNALE DE VENISE / OPERE PER LA BIENNALE DI VENEZIA / WORKS FOR THE BIENNALE IN VENICE . 67 BIOGRAPHIE / BIOGRAPHIE / BIOGRAFIA / BIOGRAPHY . 93 AUSSTELLUNGEN / EXPOSITIONS / MOSTRE / EXHIBITIONS . 93 BIBLIOGRAPHIE (AUSWAHL) / BIBLIOGRAPHIE (SÉLECTION) / BIBLIOGRAFIA (SELEZIONE) / SELECTED BIBLIOGRAPHY . 95 5 EVENT-SCULPTURE Roman Signer at the 48th Biennale in Venice “When I arrive in a new city, I usually search out water.”1 Roman Signer Outdoors in Kassel (on the Karlsaue), the artist laid out 1’000-page stacks of white writing paper in a row at intervals of 50 centimeters. These made a line in space, i.e., Water is perhaps the most crucial material ingredient in Roman Signer’s work. This a minimalist floor sculpture, which brought the lawn into rhythmic interactive relation- natural element in its many different forms had for him an early fascination in a ship with the three-dimensional placement and the intermediate spaces. Yet the childhood spent growing up on the banks of a river often swollen from rain. structure was not conceived as a static object, but as the first, provisional stage of a Considering Roman Signers intensive artistic exploration of the element water, his sculpture in several parts. Equipped with an explosive charge and a blasting cap, invitation to present this year’s Swiss contribution to the 48th Biennale in the lagoon the 300 stacks of paper were brought to a simultaneous explosion: a bang, a hazy city of Venice raises manifold expectations. For the Swiss Pavilion, the artist has cloud of smoke and 300’000 pages shot up, flapped in the air and transformed the conceived of a dense series of works. Starting with his intense occupation with austere, ground-based artwork into the multi-faceted, flickering, gentle downward Bruno Giacometti’s pavilion architecture and his own repeated encounter with “la glide of a white wall. For one moment only, the artist had set up an ephemeral Serenissima”, he has fused site-specific installations with other works into an phenomenon in space, a riotously whirling form that sank slowly to earth and alighted ensemble that enables him to link architectural with conceptual space. Inscribed in there to become an irregular field of thousands of paper sheets. The original order is the autonomous development of his work, Roman Signer’s Biennale contribution transformed by a violent action into a different state, a chaotic structure. The abrupt contains manifold references to the city and its mutable history as well as to the power of the explosion, the propulsion, is followed by a gradual subsidence; the violent waters of the lagoon. energetic thrust, by a meditative descent. Like a virtuoso, the artist stages the most “Cabin” (1999), “Bicycle” (1982/99), “Fontana di Piaggio” (1995), “Simultaneous” diverse, partly counteractive movements and energies: upward drive versus downward (1999), “Blue Barrel” (1999), together with a series of videos, allow a profound glide, contraction versus expansion. insight into Roman Signer’s work and draw a line beyond the actual occasion of the 48th Biennale to the sum of his artistic oeuvre. What is clearly manifest in this action – Roman Signer prefers the term “event” – is his understanding of what sculpture is. Starting from the Sixties and their expansion of traditional ideas of three-dimensional forms – the “dematerialization of art” into A Process-Art Sculptural Concept acts and processes – his work in 1971 began at first with objects that visualized natural forces with an almost scientific meticulousness. In his artistic inquiry, a kind of Roman Signer, as he never tires of saying, has always viewed himself as a sculptor. three-dimensional basic research, Roman Signer dedicated himself to the inherent Even his many actions before an audience – for example the famous closing action to energy potentials of nature and the physical properties of such familiar things as documenta 8 – he insists on calling sculpture, although they are only momentary: sand, stone or water. But he also translated fire, rockets and explosions into epheme- “I have perhaps a different concept of sculpture. It is one that has gradually ral structures or used their respective energy potential to deform or transform tables, developed from my actions. I have always regarded myself as a sculptor. At issue are chairs, beds, stools, bicycles, model helicopters or barrels. Over the years these always problems of space, the occurrences in space, lapses of time.”2 31 everyday objects formed a precisely selected, numerically manageable repertoire, which nes time as an inscribed dimension of sculptural form. Roman Signer’s oeuvre reveals the artist could fall back on in ever new combinations. His transitory sculptures have a finely differentiated spectrum of temporal structures, beginning with the “Action with been recorded in photos and film, whereby these media have in time taken on a life of a Fuse” (1989) lasting 35 days via the finely orchestrated multi-part action on the their own. occasion of the re-opening of the Kunstmuseum St. Gallen (1987) or the brief phe- nomenon of the closing action of documenta 8 (1987) up to the super-speed In Roman Signer’s work an artistic attitude emerges that decisively contributes to the installation “Vitesse: 2’000 mètres/seconde” (1992): “Sequence, simultaneity, traditions of Process Art and that fundamentally redefines the arrangement of sculp- duration, instantaneity, continuity, consolidation and rhythm shape the course of an tural forms. His sculptural concept deconstructs the conventional art categories entire compendium from modes of the temporal.”4 through the moment of action, the expansion into space and the dimension of time. The expansion of sculpture through the dimension of time leads to a crucial extension into space. The dematerialization of sculptural form plus the time factor makes it Space and Time: the structure of the work possible to measure and “rhythmize” large spaces, as in the noted “Action with a Fuse”. From September 11th to October 15th 1989, Roman Signer set a fuse alight Roman Signer’s whole production is based on a specific work structure. It is subdi- from his birthplace Appenzell to St. Gallen where he now lives. The fuse was laid vided, like states of aggregation, into three clearly defined phases: 1. the basic starting along the train tracks in standard lengths of 100 meters that were then joined point that incorporates potential form changes: in the case of the documenta action, together by metal explosive devices filled with black powder. The flame smoldered the lining up of the paper stacks, 2. the actual process, the change of this potential inside of the fuse, insulated from the damp, and only a fine, hardly discernible cloud into action: the papers’ upward propulsion and their glide downward, 3. the traces of of smoke hinted at its calm advance forwards. The slow burn ignited a tongue of the elapsed process: the papers scattered over the ground as total form. flame at the junctures, before it then quietly ate its way through the rest of the fuse. In Accordingly, potentiality as the possibility for future energetic acts is counted as part a constant interchange between the violent
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