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Mmrné^Imm PLEASE TYPE the UNIVERSITY of NEW SOUTH WALES Thesis/Dissertation Sheet UNSW - >013795880 llilliiiSiiiliïl iiliilis lililí iiililil SlflBil lillil Kí^lIBi® s ß 1 ^ ~ iiiÉilii mmrné^imm PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hojdyssek First name: Gunter Other name/s: Rudolf Abbreviation for degree as given in the University calendar: MFA School: School of Art Faculty: SPI Title: From Laughing At The World To Living In The World Abstract 350 words maximum: (PLEASE TYPE) Born in 1938 in Poland, 1 epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin of my culture and my cradle. After nearly forty years in Australia I feel a little displaced. Yet I left Europe voluntarily to escape from the very culture and history 1 now miss. I am experiencing a common dilemma of migration. 1 belong neither here nor there-a kind of dislocation. There exists a twilight zone in the in-between time-a discontinuity of my Berliner development. Artists such as Kaethe Kollwitz, John Heartfieid, George Grosz, Otto Dix, and Max Beckman influenced my teenage years. Later, Joseph Beuys, Anselm Kiefer and Georg Baselitz. I work with found objects, such as toys crafted by human hand. I am giving them a new meaning, a new being. They are meditations on the conflict of war, where women and children are the primary victims of political fragmentation. My sculptures evoke memories of a childhood stolen. They take on a menacing character reminding the viewer of the effects war has on humanity. But Art is the reflector and searcher; it is our way to enlightenment. Joseph Beuys introduced the concept of an expanded notion of art ("der erweiterte Kunstbegriff) to surpass the boundaries of modernism with in art, science, spirituality, humanism and economics. He drew attention to the potential of human creativity. Art, against all odds, is poetry to life Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the/350 word abstract of my thesis in Dissejlation^^^racts International (this is applicable to doctoral thesj^ only)./ ^^ X) / /L^l-Al. Date The University recognis^ that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. OR OFFICE USE ONLY ~ Date of completion of requirements for Award: CERTIFICATE OF ORIGINALITY I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, nor material which to a substantial extent has been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's desigrj^and coiAeption or in style, pres^aiafion and linguistic expres^^i^is ^ckn9<vledged. ^I Signed. FROM LAUGHING AT THE WORLD TO LIVING IN THE WORLD Günter Hojdyssek M.F.A. 2007 University of New South Wales College of Fine Art AHVHfin 800^ AVW 91 M 9,NIL uw^w 2 6 MAY 2008 LIliHAHY For my daughter, Denise CONTENTS THE POLITICS OF EXILE IN TRANSIT: BERLIN REVISITED INTERLUDE: WORKS ART & LIFE or LIFE & ART FIRST LESSONS BERTOLT BRECHT IDENTITY PAPERS JOURNEY TO DECENTRE SPACES OF DESIRE BEUYS & CO CONCLUSION BIBLIOGRAPHY # f / 1 Windmills for Viduct Project, 1995 THE POLITICS OF EXILE The artist is a traveller and observer. Like a scientist he investigates and analyses the invisible to make it visible. That is the artist's function: it is a way of seeing. Yet there is a profound difference in the concept of location for the casual traveller, in contrast to the migrant. In migration memory leads to dislocation which leads to a sense of exile. My intention is always to use memory and experience as a reference and as a guide to understanding the present and the past, which provides me with a window to the future. My life in Australia has become a kind of exile - a deprivation of the origin of my culture and my cradle. After nearly forty years in Australia I feel a little displaced. Yet I left Europe voluntarily to escape from the very culture and history I now miss. I am experiencing a common dilemma of migration. I belong neither here nor there - a kind of dis-location. There exists a twilight zone in the in-between time - a discontinuity of my Berliner development. I wonder about the art I am creating in Australia. Perhaps it is the compensation for time and development interrupted by migration. I ask myself whether the baggage I carried with me in leaving Berlin would have naturally dropped away had I stayed. Myself at 8 - Drawing by Willi Hojdyssek. IN TRANSIT : BERLIN REVISITED In 1945 Berliners faced the entire destruction of their city. To witness a destruction ofthat magnitude has a hugely damaging effect on the soul. Children are particularly vulnerable, for they have no understanding of the circumstances of the tragedy. The dimensions of such a tragedy marks the individual for their entire life. For a child such an experience is beyond comprehension. It is, in fact, a terrible abuse against the child's psyche. Such war experience for children will form their view of the world and change the pattern of their behaviour. What takes place in the mind of the child after such an experience is what Kafka speaks about in Metamorphosis {Die Verwandlung): a transformation of the human spirit. This can evoke in a child muteness, withdrawal or violence. Kafka's Metamorphosis explains the universal dilemma of our unchanging human condition. I love Berlin, metaphorically that is. The field trip - back to Berlin - to the place which once was my home was a soul-searching time. Berlin is a seductive place, contagious. Berlin never lets go of you once you have lived there. Like in the Wages of Fear (the movie) you always hang on to your metro ticket. I had to go back to Berlin to find out where I belong now, in search of myself in an attempt to find a compromise. The problem is too complex for an easy solution. The solution I need is to acknowledge my existence as an artist regardless of location. In an E-mail to Sydney I voice my first observation with a feeling of apprehension at Berlin's development. This is the only E-mail message I sent from Berlin: I am on a constant shuttle - Kreutzberg - Prenzlauerburg to Rathaus Steglitz - spending time with family and friends. They all want a part of me. Berlin is a great and exciting city, but you need money! I have none! Streets are stacked with cafés and restaurants which are stacked with people. The number I have never seen before and they say Berlin is broke. Regardless, the building craze has no limit. Gigantic projects go on inspired by the wings of desire I suppose. There is a 1920's nostalgia in the air, people sitting on a sweet honeypot but it smells a little decomposed, decadence and depression side by side. Art everywhere, but where is the political content? The spirit of Brecht, Erich Mühsam, Hanna Arndt, Hanna Höchst and Kurt Schwitters seems to have blown away with the dust when the wall came down. Also missing is political theatre like that of Erwin Picator and Brecht, and nothing remains of the left, of political dadaism like Johannes Bader and George Grosz etc. Pre-World War II landlords now return to the former East Berlin to reclaim what they think belongs to them. The housing market is in full swing. A great insecurity is nesting in. People look depressed and some waste time on grafitti-ing the city as soon as the building comes on the market and the tenants get their marching orders. Though Berlin is an anarchistic city and people do what they want, I miss just the slightest breeze of revolution. Potsdamer Platz stunning and confusing, a little USA. They intend an everlasting mark here. It reminds me of Metropolis and King Kong, a place, commercial without soul. I could not say 'Tch bin ein Berliner.'' I long for a little normality, for the sea of tranquillity.
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