Matthew Barney River of Fundament

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Matthew Barney River of Fundament HAUSDER KUNST Matthew Barney River of Fundament STRETCH YOUR VIEW Einführung DE Seit den 1990er-Jahren hat sich Matthew Barney Die Ausstellung „Matthew Barney: River of Fundament“ zu einem der bedeutendsten Künstler seiner Generation präsentiert das Projekt, an dem Barney in den letzten entwickelt: Ein Visionär, der mit einer vielschichtigen, sieben Jahren gearbeitet hat. Durch die Verflechtungen 1 radikalen Formensprache ein völlig neues und einzigar- privater, historischer und moderner Mythologie ent- tiges künstlerisches Vokabular geschaffen hat. Barneys wickelte er komplexe narrative Skulpturen. Anders als provokative Kunst erforscht physische und biologische in seinen früheren Plastiken, für die er synthetische Systeme und damit die psychischen, symbolischen und my- Stoffe bevorzugte, verwendete er für die Skulpturen in der thologischen Dimensionen des menschlichen Erlebens Ausstellung traditionelle und industrielle Materialien und Bewusstseins. Die Prinzipien, die seinem Werk zu wie Eisen, Bronze, Blei, Kupfer und Messing; hinzu kommen Grunde liegen, entfalten sich medienübergreifend - in Naturstoffe wie Schwefel und Salz. Performance, Video, Zeichnung, Film, Fotografie und Skulptur. Im Zentrum der Ausstellung steht die massive gusseiserne Skulptur DJED, die 2010 während der Live-Performance Die Ausstellung im Haus der Kunst und die epische, sym- KHU (im zweiten Akt der Filmoper) in Detroit gegossen wurde. phonische Filmoper RIVER OF FUNDAMENT sind das Ergebnis In ihrer Grundform ist die Skulptur DJED vom Fahrwerk des eines intensiven Nachdenkens über Tod, Wiedergeburt, Chrysler Imperial abgeleitet und ähnelt der säulenförmi- Transformation und Transzendenz. Die Filmoper RIVER OF gen Hieroglyphe der göttlichen Macht des Osiris. Um diese FUNDAMENT ist in Zusammenarbeit mit dem amerikanischen Skulptur herzustellen, wurden 25 Tonnen flüssiges Eisen Komponisten Jonathan Bepler entstanden. Sie ist inspi- vor Publikum aus fünf eigens angefertigten Schmelzöfen riert von Norman Mailers kontrovers diskutiertem Roman in eine offene Grube gegossen, die auf dem Gelände eines „Ancient Evenings“ („Frühe Nächte“) von 1983 und macht den stillgelegten Stahlwerks am Detroit River ausgehoben amerikanischen Schriftsteller selbst zum Protagonisten worden war. des Geschehens. RIVER OF FUNDAMENT verbindet dokumen- tarische Aufnahmen von drei Live-Performances, REN, KHU Die Ausstellung umfasst weiterhin eine umfangreiche Serie und BA, mit Filmszenen, die überwiegend in einem detail- neuer Zeichnungen sowie Fotografien, Storyboards und getreuen Nachbau von Mailers Wohnung in Brooklyn spielen. Vitrinen, die den Charakter und die thematische Entwick- Im Zentrum steht die Geschichte eines Mannes und seines lung des Projekts im Detail dokumentieren. „Matthew Schicksals, die anhand der altägyptischen Mythologie und Barney: River of Fundament“ vereint die ästhetischen der komplexen Bestattungsriten am pharaonischen Hof und formalen Prinzipien, die Barneys künstlerischem erzählt wird. Während sich Mailer in seinem Roman auf die Entstehungsprozess zu Grunde liegen und untermauert hypersexuelle Verwandlung des menschlichen Körpers kon- seinen Status als einer der wichtigsten und anspruchs- zentriert, durchlaufen bei Barney stattdessen Automobile vollsten Künstler unserer Zeit. die Zyklen von Tod und Wiedergeburt: Amerikanische Autos aus drei Generationen treten an die Stelle der Norman- Mailer-Figur - ein 1967 Chrysler Crown Imperial, ein 1979 Pontiac Firebird Trans Am sowie ein 2001 Ford Crown Victoria-Polizeistreifenwagen. Barney transponiert damit Mailers Allegorie von Tod und Wiedergeburt in den Kontext der zeitgenössischen Industrielandschaft der USA. RIVER OF FUNDAMENT, 2014 (Production Still, KHU) Introduction EN Since the early 1990s, Matthew Barney has emerged as one of the leading artists of his generation; a visionary At the center of the exhibition is DJED, a massive cast- figure whose complex and radical forms have generated an iron sculpture that was poured during a live performance 2 entirely new artistic vocabulary that is as unique as it of the film-opera’s second act, KHU, in Detroit in 2010. The is protean. At the root of Barney’s provocative art is an primary form of DJED is the undercarriage of the Chrysler examination of physical and biological systems as a portal Imperial, modified to evoke the pillar-like hieroglyph to the psychic, symbolic, and mythological dimensions of of the Egyptian god Osiris’s divine power. For this work, human experience and consciousness. These principles re- witnessed by a live audience, 25 tons of molten iron were veal themselves through performances, videos, drawings, poured from five custom-built furnaces into an open, mold- films, photography, and sculptures. ed pit formed in the earth at the site of a derelict steel mill along the Detroit River. The exhibition at Haus der Kunst and the epic symphonic film-opera RIVER OF FUNDAMENT are the result of intense The exhibition also includes an extensive suite of new meditation on the nature of death, rebirth, transformation, drawings, as well as photography, storyboards, and and transcendence. RIVER OF FUNDAMENT, realized in col- vitrines, intricately mapping the character and thematic laboration with the American composer Jonathan Bepler, is development of the project. “Matthew Barney: River of both a portrait of the American writer Norman Mailer and Fundament” thus unites the aesthetic and formal prin- a response to his controversial and much-discussed novel ciples that have fueled Barney’s artistic process and “Ancient Evenings” (1983). RIVER OF FUNDAMENT is a film- investigations, confirming his status as one of the most opera —­­ combining footage of three live performances, REN, significant and challenging artists working today. KHU, and BA, and live-action cinema, largely set in a care- ful recreation of Mailer’s Brooklyn brownstone apartment. It examines the story of a man and his destiny using the elaborate funerary systems of the pharaonic court in an- cient Egyptian mythology. While Mailer’s narrative focuses on the hypersexual transformation of the human body, Barney chooses to enact the recurring cycles of reincarnation on the body of automobiles: Three generations of American automobile design — the 1967 Chrysler Crown Imperial; 1979 Pontiac Firebird Trans Am; 2001 Ford Crown Victoria Police Interceptor — incarnate the Mailer figure and thereby carry the narrative. Barney thus creates Mailer’s allegory of death and rebirth within the context of the contemporary American industrial landscape. The exhibition “Matthew Barney: River of Fundament” presents the culmination of the project that Barney has developed over the past seven years. In it narrative sculpture is generated through a complex system of story- telling that intertwines personal, historical, and modern RIVER OF FUNDAMENT, 2014 (Production Still, REN) mythologies. With the project’s sculptures, Barney has moved away from his signature synthetic materials toward traditional sculptural and industrial metals, such as iron, bronze, lead, copper, brass, as well as the contin- ued employment of organic elements such as sulfur and salt. Norman Mailer, Romanauszug Novel excerpt Norman Mailer, „Ancient Evenings“ („Frühe Nächte“), 1983 (siehe Ancient Evenings: (see Ancient Evenings: “Ancient Evenings”, 1983 Khaibit Libretto, Raum 11) Khaibit Libretto, room 11) DE „Ancient Evenings“ spielt in Ägypten im Zeitraum EN Mailer’s novel is set in Ancient Egypt from 1290 — 110 3 1290 — 110 v.Chr.; wegen einer Neigung zum Exzessiven wurde „Doch kaum hatte ich begonnen, mich “Yet I had no more than lived through the B.C., which when it was published in 1983 was criticized das Buch, als es 1983 erschien, überwiegend kritisiert. hineinzuversetzen in die Gefühle meines onset of such faint compassion for my for its excessive nature. Urgroßvaters und seines Gottes Osiris, great-grandfather and His Lord Osiris, Im Roman versucht der altägyptische Edelmann Menenhetet I als etwas Erstaunliches geschah. In when the most astonishing phenomenon In “Ancient Evenings”, the nobleman Menenhetet I uses magic mit Hilfe von Zauberei und Kunststücken dreimal hin- meiner Einsamkeit streckte ich die Hand began. I reached over to put my hand on and trickery in order to become reincarnated three times tereinander als Kind seiner eigenen Frau wiedergeboren aus, um Menenhetet zu berühren — und er Menenhetet — I was lonely indeed — and as in the womb of his wife, who then becomes his mother. In each zu werden, die dadurch zu seiner Mutter wird. Bei jedem verschwand. So schien es jedenfalls. Es I did so, he disappeared. Or, so I attempt at reincarnation, the undead must cross the river Reinkarnationsversuch muss der Untote den Fluss der war zu dunkel, um irgend etwas zu sehen. thought. It was too dark to see. Yet, where of feces to attain new life, with the goal of changing his Fäkalien überschreiten, um ein neues Leben zu erlangen, Doch wo sein Körper gewesen war, war his body had been, was now a darkness corporeal status from that of nobleman to pharaoh. In his wobei sein Ziel darin besteht, in seiner irdischen jetzt eine Dunkelheit, noch tiefer als deeper than the darkness that surrounded third and final attempt to transform, Menenhetet III be- Existenz vom Edelmann zum Pharao aufzusteigen. Bei seinem die Dunkelheit ringsum, und in meiner me, and I felt a faint odor in my nos- comes stuck in the womb, failing to reincarnate. dritten und letzten Transformationsversuch bleibt Nase war ein Geruch, so berauschend wie trils,
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