CHRISTIAN WEIDNER / VINCENT BAUER / CORNELIA LEIN / HERE AND SOMEWHERE ELSE

In my past lives, I was a hunter and a gatherer. I would always start my everyday routine
with decorating tools, weapons and creating musical instruments for myself.
 
1) Even though you were considered as the creator of spatial objects, in this exhibition your major emphasis is on paintings. What was the impulse?

The new atelier, where for the first time in my life, is light, space and warmth, this helped me to finally start painting. An eternity of horizons was open in front of me, together with two big travels to Columbia and Australia, I understand this happy season as staying on an abandoned island, therefore the name "Two years’ vacation".
 
2) In 2004 you painted large format canvases "Roads of swifts" and "Mother Earth". In the sametime frame you also painted "Chaple of Karlin", and even before that, "Envelopes" were created, therefore in your own way you are continuing with something that was created long before?  

Of course, I was already painting in the '70s during my studies. Back then I inherited very rare pigments from prof. Slánský, which I am using presently. The first time I used them was during my exhibition in Rudolfinum, when there was a need to paint something great for "Silent Hall" and a figure of the central deity arose, which is appearing in my works in different varieties. Connection with the material was always important for me. The type of work on the ground on the non-gesso canvas, together with water diluted pigments and acrylate bonds demanded this physical contact. Even in some places on the paintings, there are my footprints.

A wall painting "Chaple of Karlin" was in somewhat a cleansing exhibition after the floods in 2002, and according to an agreement I had to turn it white. The oldest envelopes date back to 1986. The style of their decoration is connected with the style of "Third rococo" and that epoch is accumulated in my works. In the '90s I created multiple large format envelopes, which I perceived as the object/pictures having multiple-meanings and it opened an inexhaustible line packed into certain cushions, similar to guitars. This is related to my favourite non-standard formats (ovals) and adjusting large canvasses "free" without the stretcher bar.
 
3) What was most interesting thing about Australia? 

First of all never ending space and starry skies. Five weeks, every evening by the fire in the desert. Furthermore, colours and rock paintings as old as 60 000 years. This was the first time I have seen baobabs and eucalypti that were 800 years old, which existed way before the arrival of whites... breathtaking scenery. I brought back a lot of collected materials and natural clay, with which I am painting. Australians have a "story" for each god, they are mostly cautionary stories, which have helped to keep the tribes viable. It appears to me as there are various imaginary divinities, however, they were born from the transcultural backdrop. Something interesting is that the rock paintings and figures on it are very similar all around the world, but I am not the type who would study these things in much detail. On the other hand, I deliberately keep certain blindness, to be astonished, and I would recommend this to consumers. Those who ask too much will learn too much.

4) Some rusty images look a bit apocalyptic, did it have any specific impulse?

"Rusty images" are painted by some rusty mud from a forested swamp in West Czech. In fact, they are ferric nano-shells of microorganisms. I discovered this beautiful colour in the '70s, which came back to me now, to extract it artistically. Thematically, they partly follow the cycle of thermo-drawings "Landscapes from Timelessness" or the cycle of graphics "Giants", where the power of nature is personified into supernatural beings. People desire to witness a miracle or other paranormal acts, and we have this advantage that we can also paint them. Also, people are drawn to the aesthetic of natural disasters and the theatre of extinction. Towards the end however, the road took me elsewhere.
 
5) When you were in Columbia, did you try yagé -the most renowned shamanic hallucinogen?

I don’t need to check what I suspect. I don't need to meet God. I don't want to upset him. He
could stop passing me.
 
The interview led Miroslav Ambroz

CHRISTIAN WEIDNER / VINCENT BAUER / CORNELIA LEIN / HERE AND SOMEWHERE ELSE

05.04.2012 - 17.05.2012

Fait Gallery MEM
Božetěchova Street 1 (entrance from Metodějova Street), Brno
Opening: 5/4/2012 at 7pm
Curator: Martin Nytra

The motif of the exhibition of Christian Weidner, Vincent Bauer and Cornelia Lein is the source, starting point, complex phenomenon, human being and the basic element of matter in interaction with the world, of which each of them creates their own idea. They influence it and what they receive is constantly being evaluated, depending on situation in which they currently are. In the case of the authors themselves it is mainly self-reflection of their own work and their innate self in an environment of constant changes, stimuli, vague forms and illusions. It is also about a reflection on the nature of communication, originality, free will and sense of time throughout cooperation process. The search for the starting point of a message, the initial situation from which it arose, or the furthest point of the last recorded contact with an object; it is motivated by a desire to recognize and again to experience the taste which faded from memory.

Interaction between subjects is possible under conditions which are typical for most of the forms of cooperation. The instinct to act, intuition and conscious will to speak with the world, leading to specific changes, to the movement and the perception of time in the entire process of action as a confrontation of memory with a concept of future, taking place in a concrete situation of space. Thinking about the future, our desire is being formed; it activates our ability to construct possible scenarios and anticipate the consequences. We are aware of the fact that our speech must be articulated if we want to avoid unwanted circumstances of misunderstanding. All this is connected to the basic problem of the way and form of representation, how to express the content of our message in a way that would be understood by the viewer as well. In the distance communication there is a possible limit: blindness or mutual invisibility of a sender and a recipient. All around us there are lots of messages of unknown origin and in this situation is our ignorance, depending on a situation, extremely unfavorable. Therefore, the anonymity of the author and the unknown identity sending a signal serve as a stimulus of our natural curiosity. But there still remains the question of substance. What is the cause of interaction between world and life within?

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