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Kunsthalle Wien Kunsthalle Wien Museumsquartier #Odenbach 5/2 – 30/4 2017 Marcel Odenbach In this context, Ingeborg Bachmann’s poem represents “corrections”, which Beweis zu nichts might seem insignificant but ultimately lead to a change of perspective. Beweis zu nichts (Proof of Nothing) is the title of a poem by Ingeborg An earlier film by Odenbach, Bachmann, which addresses the Im Kreise drehen/Turning in Circles, ongoing victim-persecutor structure is also dedicated to a memorial in post-war society. Bertolt Brecht site, the former concentration underscored his own view on the topic camp Majdanek in the Polish city of by slightly paraphrasing not only this, Lublin. Here too the focus is on the but also other poems by Ingeborg materialisation of collective memory Bachman, whom he greatly admired. and the commemoration of victims His intervention is less subtle than it across generations. These are some may appear. In Bachmann’s version, of the central motifs in the oeuvre of the last line reads: “Wein! Aber winke one of Germany’s most celebrated uns nicht (Cry! But do not wave to us.)”. video artists. Odenbach’s works Brecht changed it as follows: “Weine, are profound explorations of the nur winke uns nicht (Cry, just do not dilemma of dealing with the past. wave to us)”. They not only reflect the lasting effects of National Socialism, but In 1952, Bertolt Brecht and Fritz approach the issue from a universal Cremer won the competition perspective. Likewise, the artist to design a memorial for the examines the apparent “otherness” former concentration camp at of foreign cultures, the legacy Buchenwald. The Nationale Mahn- of colonialism, and political and und Gedenkstätte Buchenwald economic systems of representation. (National Buchenwald Memorial) Reflections on the familiar and the was inaugurated in September foreign, his own biography and 1958. The lengthy debate over an its place in historical contexts are appropriate design for both the site further important motifs in his work, and the memorial was not so much which is defined by both an aesthetic historically or aesthetically driven, and political approach. but rather politically motivated: the aim was to show how a better, more In stillen Teichen lauern Krokodile/ socialist Germany had arisen from In Still Waters Crocodiles Lurk, conflict and sacrificial death. Cremer’s a video installation about the design shows the hallmarks of genocide that occurred in Rwanda Socialist Realism. Inspired by Auguste in 1994, incorporates historical Rodin’s group of figures The Burghers documentary material and excerpts of Calais, a group of men portrayed as from the UNO’s film archive, but equals fight an invisible enemy. no imagery of the massacre itself. In an attempt to understand this In his film about this memorial, country, faced not only with the Marcel Odenbach approaches not task of convicting murderers only the visualisation, but also to the but also reconciling its people, reinterpretation and ideologization Odenbach presents everyday of remembrance and history. scenes that reflect Rwanda’s beauty. 3 The video installation refrains from Video Works without beginning or end. During passing judgement or offering an its initial description of the material, explanation. Instead the highly the camera explores the figures evocative images compel viewers to and specifies each detail with form their own opinions. archaeological precision. As it moves on to unearth the deeper levels, the In recent years, Odenbach has not only tracking shot becomes a journey Marcel Odenbach, Im Kreise drehen/Turning in Circles, video still, 2009, © Marcel Odenbach and BILDRECHT GmbH, 2017, Courtesy of Galerie produced video, film, and installations, through time. Layers of documents Gisela Capitain, Cologne but also numerous collages. Based on are exposed which cover the group the montage principle used in film, they of figures like a coat of paint while Im Kreise drehen/Turning in Circles, combine micro and macro views. infusing it with meaning at the same 2009 time. The circling camera bores Blu-Ray DVD, colour, sound, 15:50 min. Clippings from newspapers and Marcel Odenbach, Beweis zu nichts (Proof of Nothing), photography deeper and deeper into the memorial, Courtesy of Galerie Gisela Capitain, of film set, 2016, © Marcel Odenbach and BILDRECHT GmbH, 2017, magazines are glued together, photo: Marcel Odenbach, Courtesy of the artist thus exposing its interior. Finally, Cologne and Anton Kern Gallery, repeatedly photocopied, and coloured the circle reaches completion: New York until they merge in a big picture, like Beweis zu nichts (Proof of Nothing), 2016 the site has been filled with meaning pieces of a puzzle. While the surface Two-channel video installation, colour, and the architecture has become part Im Kreise drehen/Turning in Circles is presents a clearly discernible motif, the sound, approx. 15 min the landscape. a filmic exploration of the mausoleum detailed view shows countless images Courtesy of the artist and Galerie in the Polish concentration camp that make up the whole. At first, the Gisela Capitain, Cologne. Produced Majdanek near Lublin and its evocative overall impression becomes for the eponymous exhibition at function for collective memory. apparent. On closer inspection, Kunsthalle Wien. At the beginning, we see two young it breaks up into successive fragments men in white shirts rolling in the that seem to be subordinate to the big Proceeding from Im Kreise drehen/ grass. This scene is followed by a picture. These elements are also deeply Turning in Circles, a video work slow and gradual examination of saturated with pictorial and textual Odenbach dedicated to the Majdanek the monumental memorial designed information. In their fragmentary struc- memorial, Beweis zu nichts (Proof of by Wiktor Tołkin in 1969. Inspired by ture, Odenbach’s collages resemble Nothing) focuses on the Buchenwald Marcel Odenbach, Deutschstunde (German Lesson), video still, 2006, Socialist and Futurist design, it holds © Marcel Odenbach and BILDRECHT GmbH, 2017, Courtesy of reversible figures which only show one memorial. How did the former GDR, Galerie Gisela Capitain, Cologne the ashes of murdered people like a aspect while concealing others. Instead as a declared antifascist Germany, giant offering bowl. The camera stays of representing things as they are, deal with the legacy of the Holocaust? Deutschstunde (German Lesson), 2006 close to the concrete surface as it they display reality in overlapping layers In 1951, the sculptor Fritz Cremer and Video, colour, sound, 7 min. surveys the structural and material and reveal the historical dimension of Bertolt Brecht won a competition. Courtesy of Galerie Gisela Capitain, composition of the mausoleum. the present at close range. Their design was completed in 1958. Cologne and Anton Kern Gallery, A sequence of texts provides the The bronze sculpture represents New York viewers with information on what At first sight, the almost 15-metre a group of male figures inspired they are seeing. Subsequently, the collage Durchblicke (Clear Views), one by Auguste Rodin’s Burghers of Schoolchildren read out sentences images of the mausoleum’s walls of Odenbach’s largest paper works, Calais (1884–1886), which reflects from autobiographies about Jewish become superimposed with historical shows a dense tropical jungle. Seen up the ideology of this former state. life during the time of National photographs of Jews from the Warsaw close, this panorama is composed of The memorial itself is embedded in a Socialism. These scenes are Ghetto. As the camera probes its way numerous photographs which reflect site which almost seamlessly connects interspersed with shots of a spinning from the exterior into the interior, the Africa’s colonial history. As it eludes with the architectural language and top on a table. Not only the readers’ edifice’s dimensions gradually become immediate perception, this level re- symbolism of the Third Reich. varied intonation, but also the gravity apparent. At the end of the film, the quires close, intensive scrutiny, and thus with which they carry out their two young men visit the mausoleum a systematic examination of the sphere Beweis zu nichts (Proof of Nothing) assignment show that the younger as tourists and try to prevail against between the directly visible and the still approaches the group of sculptures generation is also committed to the cold atmosphere of the concrete. effective, but often supressed shadows in circular movements; the film remembering and is very much aware The structure in its entirety is only of the past underneath the surface. resembles an endless tracking shot, of the importance of this task. shown during the closing credits. 4 5 places. But what happens when the curtains obscuring the vista, these dreams from afar come home? we are also deprived of the view of The sea seems endless and peaceful, the Obersalzberg due to the angle but also full of perils. “Hope and chosen by the artist. This partially home - for me as a German this also blocked vision is like a metaphor always means salvation and flight.” for the dictator’s perception, whose (Odenbach) presence is palpable despite his Marcel Odenbach, In stillen Teichen lauern Krokodile/In Still Waters Marcel Odenbach, Im Schiffbruch nicht schwimmen können (Foundering, absence. The bourgeois sitting Crocodiles Lurk, video still, 2002/2004, © Marcel Odenbach and and You Can‘t Swim), video still, 2011, © Marcel Odenbach and BILDRECHT GmbH, 2017, Courtesy of Galerie Gisela Capitain,
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