Galerie b2

FINSTER

It won’t get any better: while being in this dim, gloomy (and therefore definitly eerie appearing) place, they meet a sinister figure. And this while living in these days, in which not only theory proclaims “endless diagnoses of death: death of ideologies (Lyotard); of industrial society (Bell); of the real (Baudrilliard); of authorship (Barthes); of man (Foucault); of history (Kojéve)”¹, but also confederations fall apart, cold and hot wars prevail the news, nature is presenting one summer of the century after another and the narrative of human progress is getting doubtful again. The protagonists are looking at the situation they are in. No dark clouds will be gathering, because soon there will be no clouds anymore. Nobody will shiver, because temperature is rising. The Future? Sinister, but rather cheerful also. While the figure approaches, the group is divided by the question if they should react “celebratory (…) or melancholic”² or observantly distant. Maybe they should do all this simultaneously, as a mutual act. In this situation some of them might think, that this could be that kind of darkness, which one get’s wrapped into on a late summers night, while even mosquitoes turned into pleasant decoration and everybody is blissfully waiting for the next promising day soon to rise.

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1 Yves-Alain Bois: Painting: The Task of Mourning. In: Yves-Alain Bois: Painting as Model, S. 229
2 Ibid.