Heiner Goebbels

Landschaftsstücke/Landscape Plays

03.06. – 19.08.2018

Klang- und Videoinstallation in der Kunsthalle Gießen

Eröffnung 2. Juni 2018, 18:00 Uhr, Hermann-Levi-Saal im Rathaus

Kuratiert von Heiner Goebbels und Dr. Nadia Ismail

 

Sound and Video Installation at Kunsthalle Gießen

Opening reception on June 2, 2018 at 6 p.m., Hermann-Levi-Saal at City Hall

Curated by Heiner Goebbels and Dr. Nadia Ismail

 

Mit freundlicher Unterstützung

supported by

Hessische Kulturstiftung

Justus-Liebig-Universität Gießen

Verein Ehrenamt Gießen e. V.

Szenisches Konzert von HEINER GOEBBELS

mit einem Namen aus einem alten Buch

04.05.2018 | 05.05.2018 | 06.05.2018 | 08.06.2018 | 09.06.2018 |10.06.2018

jeweils um 19:30 Uhr | Stadttheater Gießen, Großes Haus, Berliner Platz

In der Einzelausstellung Landschaftsstücke / Landscape Plays verbindet der Frankfurter Künstler Heiner Goebbels die beiden Medien Klang- und Videoinstallation in einem neuen Format. Man sieht fünf großformatige, teilweise synchron laufende Videoarbeiten, deren Tonspuren aber derart aufeinander bezogen und miteinander verzahnt sind, dass auf verblüffende Weise das Hören ins Zentrum gerückt ist – als akustisches Erleben einer komplexen Klangkomposition aus Stimmen, Geräuschen und Musik.

 

Das in Museen und Galerien bisweilen störende Nebeneinander von Arbeiten mit Tonspuren wird hier durch die kompositorische Kompetenz von Heiner Goebbels in ihr Gegenteil verkehrt: zu einem ästhetischen Zusammenklang auch der unterschiedlichsten Bildelemente, bei deren Auswahl der Betrachter frei ist.

 

Die Solo-Ausstellung Landschaftsstücke / Landscape Plays spielt dabei schon in ihrem Titel mit der aktuellen Nähe von zeitgenössischen Performing Arts und bildender Kunst, die für die weltweit gefeierten Musiktheaterstücke von Heiner Goebbels so charakteristisch ist.

Dabei ist Landscape Plays zunächst ein Begriff der amerikanischen Autorin Gertrude Stein, mit dem sie ihre Stücke bezeichnet, die jenseits linearer Narration und traditioneller Strukturen quasi die ‚Fahrtrichtung’ der traditionell repräsentativen Kunstform Theater umdrehen. Von der Bühne geht keine konsistente Botschaft oder Handlung aus, sondern Steins Insistenz auf der eigenen Realität ihrer Texte, auf dem freien Spiel mit Worten, Formen, Farben, Bewegungen und Bedeutungen macht den Zuschauer zum Souverän, der nach Belieben seine Aufmerksamkeit selbst fokussiert – wie bei der Betrachtung einer Landschaft oder eines Landschaftsbildes.

 

„In short I found that since the landscape was the thing, a play was a thing and I went on writing plays a great many plays. I felt that if a play was exactly like a landscape then there would be no difficulty about the emotion of the person looking on at the play being behind or ahead of the play because the landscape does not have to make acquaintance. You may have to make acquaintance with it, but it does not with you, it is there and so the play being written the relation between you at any time is so exactly that that it is of no importance unless you look at it. Well I did look at it and the result is in all the plays that I have printed as Operas and Plays.“

 

„The landscape has its formation and as after all a play has to have formation and be in relation one thing to the other thing and as the story is not the thing as any one is always telling something then the landscape not moving but being always in relation, the trees to the hills the hills to the fields the trees to each other any piece of it to any sky and then any detail to any other detail, the story is only of importance if you like to tell or like to hear a story but the relation is there anyway. And of that relation I wanted to make a play and I did, a great number of plays.“

 

„A landscape does not move nothing really moves in a landscape but things are there, and I put into the play the things that were there. Magpies are in the landscape that is they are in the sky of a landscape, they are black and white and they are in the sky of the landscape.“

 

Gertrude Stein: Plays, aus: Lectures in America

 

Ein derart offener Begriff von Landschaft hat Heiner Goebbels schon sehr früh inspiriert:

•   zu Textlandschaften in seinen Hörstücken z.B. in der performativen Installation Maelstromsüdpol, zusammen mit Heiner Müller und Erich Wonder, documenta VIII 1987

•   zu szenischen Skizzen und Bildlandschaften, wie in seiner Performance Landscape with Man being killed by a Snake (nach Nicolas Poussin),  documenta X 1997

•   zu Musiktheaterstücken und Opern mit dem Ensemble Modern, z.B. Landschaft mit entfernten Verwandten Genf, 2002

•   oder zur performativen Installation Stifters Dinge, die sich auf den Autor und Landschaftsmaler Adalbert Stifter bezieht.

Andere Arbeiten - wie Hashirigaki  2000 – nach Texten aus Gertrude Steins The Making of Americans, seine Inszenierungen von John Cages Europeras 1&2 und De Materie, einer Oper von Louis Andriessen (Ruhrtriennale 2012 und 2014) – entwickeln diese Perspektive weiter.

 

Auch darauf nimmt die Ausstellung Landschaftsstücke / Landscape Plays Bezug.

 

 

 

 

In the solo exhibition Landschaftsstücke / Landscape Plays, Frankfurt artist Heiner Goebbels brings together the two media—sound and video installation—in a new format. There are five large-format screens displaying video works, some of which are synchronous. The sound, however, is interwoven, with audio related to one video emanating from another screen. In this striking manner, hearing is brought to the fore—as the acoustic experience of a complex sound composition made up of voices, noises and music.

 

Heiner Goebbels draws upon his expertise in composition to invert the disruptive effect that results when works with sound elements are displayed near one another in museums and galleries. The result is an aesthetic harmony arising from the most disparate of images, and the viewer may now concentrate on those that interest him or her the most.

The title of the solo exhibition Landschaftsstücke / Landscape Plays is a play on the proximity between contemporary performing arts and visual art, which is so characteristic of Heiner Goebbels world-renowned musical theater pieces.

 

The term Landscape Plays itself comes from the American author Gertrude Stein, who used it to describe her pieces that circumvented linear narration and traditional structures in order to change the course of traditional theater, with emphasized representation. On stage, there is no consistent or message or plot. Rather, Stein insists on the separate reality of her texts, on the free play of words, forms, colors, movement, and meanings that render the viewer sovereign. Just as when viewing a landscape in nature or an image of a landscape, the viewer may decide where to focus his or her attention.

 

“In short I found that since the landscape was the thing, a play was a thing and I went on writing plays a great many plays. I felt that if a play was exactly like a landscape then there would be no difficulty about the emotion of the person looking on at the play being behind or ahead of the play because the landscape does not have to make acquaintance. You may have to make acquaintance with it, but it does not with you, it is there and so the play being written the relation between you at any time is so exactly that that it is of no importance unless you look at it. Well I did look at it and the result is in all the plays that I have printed as Operas and Plays.”

 

“The landscape has its formation and as after all a play has to have formation and be in relation one thing to the other thing and as the story is not the thing as any one is always telling something then the landscape not moving but being always in relation, the trees to the hills the hills to the fields the trees to each other any piece of it to any sky and then any detail to any other detail, the story is only of importance if you like to tell or like to hear a story but the relation is there anyway. And of that relation I wanted to make a play and I did, a great number of plays.”

 

„A landscape does not move nothing really moves in a landscape but things are there, and I put into the play the things that were there. Magpies are in the landscape that is they are in the sky of a landscape, they are black and white and they are in the sky of the landscape.”

 

Gertrude Stein: Plays, in: Lectures in America

 

From early in his career, this open definition of landscape has inspired Heiner Goebbels to create:

 

•   the textual landscapes in his sound pieces, including the performative installation Maelstromsüdpol, with Heiner Müller and Erich Wonder, documenta VIII 1987

•   scenic set designs and landscape images, as in his performance Landscape with Man being killed by a Snake (after Nicolas Poussin), documenta X 1997

•   musical theater pieces and operas with the Ensemble Modern, including Landscape with Distant Relatives, Geneva, 2002

•   and the performative installation Stifter’s Things, which revolves around the author and landscape painter Adalbert Stifter.

 

He further explores this theme in works such as Hashirigaki, 2000, which is based on texts from Gertrude Stein’s The Making of Americans, his staging of John Cage’s Europeras 1&2, and of De Materie, an opera by Louis Andriessen (Ruhrtriennale 2012 and 2014).

 

The exhibition Landschaftsstücke / Landscape Plays relates to these works as well.

Opening

 

Begrüßung I Official greeting

Dietlind Grabe-Bolz, Oberbürgermeisterin

Mayor of the City of Giessen

 

Grußwort I Welcome address

Prof. Dr. Joybrato Mukherjee

Präsident Justus-Liebig-Universität, Gießen

President Justus-Liebig-University, Giessen

 

Einführung I Introduction

Dr. Nadia Ismail
Leiterin I Director Kunsthalle Gießen

Heiner Goebbels

Eröffnung

 

Samstag, 02.06.2018, 18 Uhr

Saturday, June 2nd, 2018, 6pm

 

 

 

Kunsthalle Gießen I Berliner Platz 1 I 35390 Gießen

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