字幕表 動画を再生する 英語字幕をプリント Yes, here in room 20, in the basement, there's a reunification of two images I made in 2004, Ostgut Freischwimmer rechts and Ostgut Freischwimmer links, ... which I originally created for the Club Berghain, Panorama Bar in Berlin, where they hung over the dancefloor for five years, and the Kunstmuseum Basel has acquired Ostgut Freischwimmer rechts already several years ago and now two years ago the Fondation Beyeler acquired the left one, and that's how they came together again and can be seen together again for the first time. I see both as individual works, they can easily stand on their own, so one doesn't need to see the other, but it's somehow nice to see them both together again and they are part of a kind of images I create since around 2000 that are made in the darkroom on photo paper. So the name Freischwimmer, which suggests liquids, chemicals, or similar things, the name doesn't relate to fluids, which are used in the production ... in the making ... These are images that I create with my hands and with tools that emit light ... whereas in the upper room, in room 8 on the ground floor, there you can see images from the series Silver, that I call rather mechanical images. I work on these also since 1998 and they emerge actually as a depiction of the process itself. That is, the photo chemistry, is depicted here, the Silver is a reference to the core of the miracle, which photography is. But these images don't illustrate anything else but there own development process. Chemicals that are used in it that accumulate if one doesn't clean the machines and the tanks. The result are these rhythmic sediments, on the paper. So there are actually two kinds of totally contrary types of abstraction I work with and here in this room 20 I was invited to add additional pictures from the collection of the Fondation Beyeler and the problem is that the collection is so fantastic that it has to, that it could look always somehow presumptuous that one relates oneself to the the masters of Modern Art. I found the invitation exciting and had the chance to chose two Matisse, which are in a similar landscape format, the Max Ernst, which, regarding the format, is in dialog with my pictures, and it was interesting that in the end I didn't chose no other complete abstract pictures, because they are ... ... although the Matisse stands on the edge of complete abstraction, but there is still an obvious relation to reality, and I believe also the two Picasso portraits go very well together with the suggestion of reality in my Freischwimmer pictures, because the eye understands them as photographic in a way and for the brain, photographic means, to have something to do with reality. And this creates a nice level of excitement that there's nothing figurative is depicted, but the eye recognizes reality and I use this the desire of the eye, to see reality in images that the eye recognizes as photographic. ... This is what I use and this is why these pictures are actually possible, only because they are not painted. So for me these above all pictures, and the reason why the work, is because they are photographic, so I had to choose photography as medium because I believe they would work differently, if they were painted. What does it mean for you to be represented in the Beyeler Collection? Obviously, it's a very special collection, because it has been put together by a connoisseur with absolute sureness of taste. To be invited is of course something very special so I was very happy about it, and it's also an extension, I think, for the collection, because they are the first pictures that have a purely photographic background. The Foundation has,... probably my pictures are equally made with camera and without camera. So there's motives such as Anders (Brighton Arcimboldo) or Affinity, In Flight Astro and others that are made with the camera that have all something to do in one way or the other with seeing, discovering, recognizing and ... the limites of visibility and the depictable, especially in the three astronomical pictures, the ones with the astronomical background Munuwata Sky und Transit of Venus und In Flight Astro. In a certain way, all of my works are studies of cause and effect that means what happens when I do something, what are the effects, whether they are technical, photographical, with the medium, or also psychological, in relation to the motif the depicted, or not depicted - without conceiving it in advance as a program there's different perspectives that come together in such rooms and that's somehow the arch that spans from the Buenos Aires picture with the drain pipe that runs in the gully, if you point your eye to the edge of the watercourse, there are strange little dots, which somehow have a presence that one would have never be able to see with the naked eye, which can never be reproduced, which somehow cross the bridge to the image with the sun where the little dot, the black dot, is Venus that ran between Sun and Earth, so, the very tangible and the completely ephemeral and the points of conctact in the pictures as in life, that's a little bit the context that I see.