{"id":483,"date":"2016-07-22T10:10:29","date_gmt":"2016-07-22T10:10:29","guid":{"rendered":"http:\/\/gabrielaoberkofler.com\/?p=483"},"modified":"2024-07-30T10:12:47","modified_gmt":"2024-07-30T10:12:47","slug":"mein-schwabisches-ich","status":"publish","type":"post","link":"https:\/\/gabrielaoberkofler.de\/en\/mein-schwabisches-ich\/","title":{"rendered":"My Swabian Self?"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":484,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[4],"tags":[],"class_list":["post-483","post","type-post","status-publish","has-post-thumbnail","hentry","category-projekte"],"grid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n 1,\r\n 2,\r\n 2,\r\n 1,\r\n 1,\r\n 1,\r\n 1,\r\n 1,\r\n 1,\r\n 1,\r\n 1,\r\n 1,\r\n 1,\r\n 1,\r\n 1,\r\n 1\r\n ],\r\n \"frameMargin\": 1,\r\n \"leftFrameMargin\": 1,\r\n \"rightFrameMargin\": 1,\r\n \"topFrameMargin\": 80,\r\n \"mus\": {\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"topFrameMu\": \"px\",\r\n \"bottomFrameMu\": \"%\",\r\n \"frameMu\": \"%\"\r\n },\r\n \"bottomFrameMargin\": 2,\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 1\r\n },\r\n {\r\n \"relid\": 3\r\n },\r\n {\r\n \"relid\": 4\r\n },\r\n {\r\n \"relid\": 8\r\n },\r\n {\r\n \"relid\": 10\r\n },\r\n {\r\n \"relid\": 12\r\n },\r\n {\r\n \"relid\": 14\r\n },\r\n {\r\n \"relid\": 17\r\n },\r\n {\r\n \"relid\": 16\r\n },\r\n {\r\n \"relid\": 20\r\n },\r\n {\r\n \"relid\": 22\r\n },\r\n {\r\n \"relid\": 24\r\n },\r\n {\r\n \"relid\": 26\r\n },\r\n {\r\n \"relid\": 28\r\n },\r\n {\r\n \"relid\": 30\r\n },\r\n {\r\n \"relid\": 32\r\n },\r\n {\r\n \"relid\": 36\r\n }\r\n ],\r\n \"bgColor\": null,\r\n \"bgImage\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

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MY SWABIAN SELF?<\/p>

\u2018Every [culture] is a more or less permanent direction, a behaviour, a twist, a configuration given to that which has no figure in itself, but whose outline, whose drawing reveals a new aspect.\u2019 (Jean-Luc Nancy: Identity,<\/span> Vienna 2010, p. 65)<\/p>

Gabriela Oberkofler approaches the question of the contemporary Swabian self by using six individual stories of Swabians with Turkish roots to show how cultures and identities complement each other.<\/p>

Based on intensive conversations between her and six members of the German-Turkish Forum, the installations of the South Tyrolean-born artist, who has lived in Stuttgart for over 15 years, combine personal objects, drawings and animations with historical artefacts from the State Museum and archive material to create subtle portrayals of different personalities. She deconstructs the Swabian self by juxtaposing the private and individual with stereotypes and clich\u00e9s.<\/p>

FOR ERGUN CAN: CARNIVAL<\/p>

Carnival masks (hand-carved by Ergun Can), wallpaper with drawings after votive figures from the collection of the Innsbruck Folklore Museum<\/p>

Ali Ergun Can was born in Istanbul in 1958. After training as an industrial mechanic, he studied mechanical engineering and now lives and works in Stuttgart. He moved with his family from Istanbul to a village in the Black Forest when he was five years old. As a teenager, he became interested in the traditional Swabian carnival\u2014especially the hand-carved masks\u2014and learnt how to carve them. Ergun Can is the only Muslim mask carver.<\/p>

Gabriela Oberkofler juxtaposes selected masks from the Black Forest made by Ergun Can with a wallpaper featuring her own drawings of votive figures from Tyrol and South Tyrol.<\/p>

FOR FUNDA DOGHAN: BUTTERFLY<\/p>

Cat toy by Funda Doghan, votive figurines from the Landesmuseum W\u00fcrttemberg, Gef\u00e4delte Schmetterlinge,<\/span> 2016, watercolour on paper, 80 \u00d7 80 cm<\/p>

Schw\u00e4bisch kam mir immer so grob an die Ohren,<\/span> recalls the journalist, who was born in Ulm in 1984. Nevertheless, Funda Doghan calls the cat toy in the display case M\u00e4usle<\/span> (little mouse); she likes the playfulness of the Swabian diminutives. Her soul animal symbolises change in relation to her homeland: the butterfly, which can emerge and take wing. As a symbol of hope and lightness, it is present in two forms: a butterfly native to Turkey and one from southern Germany. However, freedom always also means detachment from the strings on which the two butterflies are still hanging.<\/p>

CHAIN<\/p>

Zeichnung\u00a0<\/span>Gebetskette,<\/span>\u00a0<\/span>2016, Aquarell auf Papier, 80 \u00d7 80 cm,
Fraiskette aus Tierknochen, Rosenkranz mit Anh\u00e4nger (2. H\u00e4lfte 18. Jahrhundert)
Zeichnung\u00a0<\/span>Blaue Blume,<\/span>\u00a0<\/span>2015, Aquarell auf Papier, 21 \u00d7 15 cm<\/p>

Gabriela Oberkofler verkn\u00fcpft in ihrer Installation christliche und muslimische Gebetsketten \u2013 in beiden Religionen werden diese f\u00fcr meditative Andachten gebraucht.<\/p>

Drawing Gebetskette (<\/span><\/span>Prayer chain), 2016, watercolour on paper, 80 \u00d7 80 cm,
Frais necklace made from animal bones, rosary with pendant (2nd half of the 18th century)
Drawing Blaue Blume (<\/span><\/span>Blue Flower), 2015, watercolour on paper, 21 \u00d7 15 cm<\/p>

Gabriela Oberkofler combines Christian and Muslim prayer chains in her installation - in both religions these are used for meditative devotions.<\/p>

F\u00dcR MEHMET SOYLU: WANDERN<\/p>

Cot figurines (cot animals from southern Germany and Tyrol, 18th and 19th century),
Bowl (Susanne Goldbach, W\u00fcrttemberg State Museum),
Ceramic paprika (Gabriela Oberkofler),
Wooden frame (Landesmuseum),
Wooden casket with horse tooth from South Tyrol,
Drawings F\u00fcr Mehmet (<\/span><\/span>For Mehmet), 2016, watercolour on paper, various formats,
Drawing Tr\u00e4nenteppich (<\/span><\/span>Tear carpet), 2015, watercolour on paper, 21 \u00d7 30 cm,
Family photographs by Mehmet Soylu, Stuttgart,
Swabian Alb and Antakya, Anatolia,
Photographs from W\u00fcrttemberg between 1910 and 1960
(State Centre for Folklore \/ W\u00fcrttemberg State Museum) and
Photographs of the Yilmaz family between 1940 and 1960,
Istanbul \/ Eskisehir \/ Dogancayir, Central Anatolia<\/p>

For the computer scientist, hiking means more than just getting to know his home country better. For Mehmet Soylu, who was born in Eregli, Turkey, in 1952, the German-Turkish hiking group, which he founded in 2005, offers the opportunity for an exchange between cultures. Gabriela Oberkofler stages an installation across several display cases on the question of how we perceive the rural environment and how this is characterised by the cultural context: She combines family photos of the Soylus and a stuffed pepper, a dish that Mehmet Soylu likes to cook. It is immediately apparent how universal the supposedly different cultures are; one thinks of the rewarding stop-off after hiking, of childhood and nature. The nativity figures have been removed from their Christian context and are sent on a quest for a better life by Gabriela Oberkofler\u2014as a symbol of the migration society.<\/p>

F\u00dcR HEART NOWACK-ELIKIZ: PIANO<\/p>

Piano, wallpaper with drawings from the series Alles Wieder Zur\u00fcck (Everything back again)<\/span><\/span>\u00a0(2014)<\/p>

G\u00f6n\u00fcl Nowack-\u00c7elikiz combines different cultures in her love of music\u2014she plays Turkish protest songs as well as Auf der schw\u00e4b<\/span>\u2019schen Eisenbahn<\/span>. Born in Istanbul in 1943, the pianist has lived in Esslingen for a long time, where she gives piano lessons at the music school and performs as a concert pianist herself. In front of the wallpaper printed with Gabriela Oberkofler\u2019<\/span>s drawings, G\u00f6n\u00fcl Nowack-\u00c7elikiz plays songs of different origins on several dates during the exhibition.<\/p>

A project as part of the Great State Exhibition The Swabians: Between Myth and Brand.<\/span>
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