Achim Stiermann
This guy, full of great humorous power, has studied art in Vienna,
where he was obviously really within the in-scene. In H2 the
exhibition room's were filled up with kinetical objects of strange
materials, with some rare qualities like being cheap, fragile and/or
weak in storage life: spaghetti, drinking straws, real old
gramophones for vinyls, a synthetical umbrella, an alienated metal
rack, some simple electronics.
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What is created with cooking all these
things together in the big jar of energized art making, is a
slide-like machine, that lifts up little balls that are looking like
eggs, kicks them over its peak , let them roll down the slide and
jump on a table, and at last, into the turned over umbrella, then
again, they are put in motion and on the way to the lift. Thus,
Stiermann managed to symbolize all the aspects of art that could have
been seen and even the forthcomings (like the pleasuregrounded
circuit diagrams of Appel): up to heaven and down on the archive's
table, into the recycler and on the art lift again....
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What was deposited was a "scratch-machine", in a way
sculptural chance - art, that carried caps on its players. While
running, the caps, made of drinking straws, changed speed and thus
mood and tone of the already in its original form disgusting music.
Thus, the record player a kind of drunken musician, very lively. In a
way like the stage artist Robert Wilson, Steinmann interchanges
elements of livelyness between humans and machines, that the latter
really approximate.
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Even in a harmless
combination of bicycle saddle and handlebar with some catlight as
eyes, that looks like a mixture of a bull and a man's (in
reminiscence to the artist name "Stiermann") bust, a
minotaurus or at least the pet of Picasso's demoiselles d'Avignon,
again very lively and appealing. Thus, a cult object for freudian
skilled art watchers and powerful enough to climb up the art machine.
Stiermann on the web:www.stiermann.org
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