{"id":594,"date":"2018-07-18T09:04:44","date_gmt":"2018-07-18T09:04:44","guid":{"rendered":"http:\/\/gabrielaoberkofler.com\/prekaere-leben-copy\/"},"modified":"2024-07-29T13:57:59","modified_gmt":"2024-07-29T13:57:59","slug":"glokale-welten","status":"publish","type":"post","link":"https:\/\/gabrielaoberkofler.de\/en\/glokale-welten\/","title":{"rendered":"\u00bbGlokale Welten\u00ab \u2013 Home as a way of life"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":596,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[3],"tags":[15],"class_list":["post-594","post","type-post","status-publish","has-post-thumbnail","hentry","category-texte","tag-guenter-baumann"],"grid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [],\r\n \"frameMargin\": 1,\r\n \"leftFrameMargin\": 1,\r\n \"rightFrameMargin\": 1,\r\n \"topFrameMargin\": 80,\r\n 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\u00bbGlokale Welten\u00ab<\/span>\u2014Home as a way of life<\/span>
Gu\u0308nter Baumann<\/p>

\u00a0<\/span>\u00bb\u2026 Gru\u0308n ist der wald, perg, au, gevild und tal. \/<\/span>
die nachtigal \/ und aller voglin schal \/<\/span>
an h\u00f6ret ane zal \/ erklingen u\u0308beral \u2026\u00ab<\/span>
(Oswald von Wolkenstein, \u00bbo wunniklicher, wolgezierter mai\u00ab)<\/span><\/p>

\u00bbDas Kalb geht die Nacht ein \/ Ich schlaf drau\u00dfen<\/span>
im Stall \/ Hier, die Suppen is in der Kanna \/<\/span>
Geh fei ins Bett, morgen mu\u0308ss ma naus\u00ab<\/span>
(Nora Gomringer, \u00bbBauernzart\u00ab)<\/span><\/p>

Suddenly everyone is talking about \u201cHeimat\u201d again, most loudly where it is backward-looking and therefore obsolete - and at the same time the term is so topical that it not only needs to be discussed, but can also be rehabilitated at the same time against the eternal apologists of the \u201cStammtischraunen\u201d. Gabriela Oberkofler, on the other hand, uses \u201cHeimat\u201d subtly and strikingly quietly, emphatically incidentally, as an artistic idea and as a social utopia\u2014and not least as a way of life. Reason enough to choose the draughtswoman, object, performance and video artist as the winner of the Gerlinde Beck Prize for Sculpture 2018. The subsumption of her work under sculpture may initially be irritating. One of her academic teachers, Werner Pokorny, wrote in a foreword in 2012: \u201cCan drawing in itself, the drawing of simple things, can sculptural considerations, pictorial attempts in general, be a way of marking positions in an increasingly complex situation?\u201d Approaching her favorite medium - drawing - as a \u201csculptural consideration\u201d should appeal to Gabriela Oberkofler, as she sees her art less as a technical visual language than as a social image. It would be possible to use social sculpture here, but this would place the artist's work too much in the tradition of Joseph Beuys, whose private myths were of a different nature than her connection of art to real nature\u2014in terms of man's alienation from it and the violence that man inflicts on it. Thus her private gaze is less mythical than actually directed towards a legendary homeland, which for the South Tyrolean from the small mountain village of Jenesien near Bolzano represents a completely different nature of its own than is generally implied when talking about 'homeland'. Before we ask ourselves the insoluble question of whether home is a (fated) place, a (political) concept or a (subjective) feeling, or all of these at the same time, let us briefly sketch the conceptual field in literary terms. It is less the artists who stand out here than the authors, be it in ironic denial as in Herbert Achternbusch, who derives the basically untranslatable word \u201cHeimat\u201d from the Bavarian 'hemad' (shirt), which is closest to one's heart, or as a critical thesis: in Robert Menasse (\u201cHeimat is a human right, nation a crime\u201d), Hertha M\u00fcller (\u201cPhantomschmerz im Erinnern\u201d) or Bernhard Schlink (\u201cDas eigentliche Heimatgef\u00fchl ist Heimweh\u201d). Home cannot be defined, but it can be told.<\/p>

Gabriela Oberkofler does not document a home, although she not only carries her image of Jenesien in her heart, but also stages it in her work - but then in such a way that it becomes universally valid. And when she incorporates nature, she sometimes creates a species-appropriate chicken coop in the front garden of her studio\u2014the 'Rosensteinalm'\u2014in Stuttgart's Wagenhallen, which translocates rural existence into the wastelands of industry. In all her exhibitions, she creates spaces that are dominated by finely chiselled, sometimes microscopically and sometimes macroscopically deepened or sometimes monumentalized drawings, but which become environments, spatial sculptures, through her sculptural thinking. In such a thoroughly narrative transformation of the world, Ernst Bloch enters her work as a guarantor, who as early as 1946 declared Heimat to be a forward-looking place of longing and a social desideratum, in short, the counter-position to all right-wing attempts at interpretation: Heimat not as a demarcation from the foreign, but as a \u201cphilosophical concept against alienation\u201d in itself, a world \u201cwhere the object is no longer afflicted with something foreign to it\u201d. In \u201cThe Principle of Hope\u201d it says: \u201cThe real genesis is not at the beginning, but at the end, and it only begins when society and existence become radical, that is, when they get to the root. The root of history, however, is man who works, creates, transforms and overtakes circumstances. Once he has grasped himself and established his own without alienation and alienation in real democracy, something arises in the world that shines into everyone's childhood and in which no one has yet been: home.\u201d<\/p>

Gabriela Oberkofler\u2019s works are characterized by breaks and gaps, omissions. \u201cMy aim is to show that something is missing.\u201d This is where her root treatment lies, which also hurts: for example, when her fictional-real home is laid out on tables\u2014a church tower, boats, fish heads that seem to peek out of the water, a fountain, a bridge, half a house, a knitting doll, hay bales, horse and deer legs, relics of past existence, next to plants that are sorted by leaves, stems, branches, thus destroyed. Art here, nature there. In between, the nature-loving guest's daughter groups so-called \u201csmall hybrids\u201d, mixtures, crosses. Object-like clay bowls with real plants, with cooperating growth forms such as fungi and lichens, as well as disproportions: Plants that displace each other, depriving themselves of the basis of existence. In addition to this sculptural world of memories, fractals, the floral and the sculptural, there is\u2014one might almost say\u2014the actual, graphic world, also entitled \u201cHybride\u201d. Gabriela Oberkofler creates a filigree, colorful shimmering flower culture with papayas, orchids, pomegranates, hibiscus and coconut. For all its realism, it is not about closeness to nature, but about a social category. We see overformations, new formations, cross-sections of stems and flowers, cell structures. This analytical view elegantly glosses over social questions: Who is in control of nature here? How do the species live together? Who displaces whom, who benefits whom? And what is nature? We see it through the breeder's gaze of civilization, of society; it has to deliver what we expect from it. The local region, the intimate world, meets the concessions of globalization\u2014the 'Oberkoflerin' has found the word \u201cglocal\u201d for this. The blending of private and general questions, the \u201cworries of being part of an ... unknown context\u201d, in connection with homesickness, the fear of homelessness through grafted forms of coexistence, allow the work to go beyond the image of nature. \u201cI think that the hybrid term 'glocal' plays an important role in this context,\u201d Gabriela Oberkofler said in an interview. \u201cI have always dreamed of taking everything that defines me - my culture or what my parents and my village have given me\u2014with me on my travels.\u201d The task of art is to give these ambivalent relationships a stage. The artist creates a multi-layered world from set pieces of our memories, experiences and knowledge. With her sculptural reflections on nature and home, she goes beyond drawing and highlights social contexts. The great Enlightenment philosopher Gotthold Ephraim Lessing already knew this: \u201cIn nature, everything is connected with everything else, everything intersects with everything else, everything changes one thing into another.\u201d With regard to home and its localization in a forward-looking spirit, let us once again quote Ernst Bloch, whose credo could provide a motto for an artist who climbed the post-war rubble mountain of Stuttgart, the so-called Monte Scherbelino, to \u201cyodel\u201d on it, who performed together with the Kastelruther Spatzen to fill the emptiness of being a stranger with the illusion of home, who had herself photographed in a fantasy costume on horseback with a pitchfork in her hand in front of an Alpine backdrop to pay tribute to rural life (and indirectly to fellow artist Marina Abramovic), and who, in a performance called \u201cBuggelkraxen\u201d, walks through the village street with a stretcher full of crate board houses\u2014in other words, with a transportable sculpture on her back or even as a living sculpture herself: \u201cTo think is to transcend. \u201d\u00a0<\/span>\ue000<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 5,\r\n \"colspan\": 7,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 2,\r\n \"absolute_position\": false\r\n }\r\n ]\r\n}","phonegrid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n 5\r\n ],\r\n \"frameMargin\": 5,\r\n \"topFrameMargin\": 5,\r\n \"rightFrameMargin\": 5,\r\n \"bottomFrameMargin\": 5,\r\n \"leftFrameMargin\": 5,\r\n \"mus\": {\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"topFrameMu\": \"%\",\r\n \"bottomFrameMu\": \"%\",\r\n \"frameMu\": \"%\"\r\n },\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 5\r\n },\r\n {\r\n \"relid\": 1\r\n }\r\n ],\r\n \"bgColor\": null,\r\n \"bgImage\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u00bbGlokale Welten\u00ab<\/span>\u2014Home as a way of life<\/span>
Gu\u0308nter Baumann<\/p>

\u00a0<\/span>\u00bb\u2026 Gru\u0308n ist der wald, perg, au, gevild und tal. \/<\/span>
die nachtigal \/ und aller voglin schal \/<\/span>
an h\u00f6ret ane zal \/ erklingen u\u0308beral \u2026\u00ab<\/span>
(Oswald von Wolkenstein, \u00bbo wunniklicher, wolgezierter mai\u00ab)<\/span><\/p>

\u00bbDas Kalb geht die Nacht ein \/ Ich schlaf drau\u00dfen<\/span>
im Stall \/ Hier, die Suppen is in der Kanna \/<\/span>
Geh fei ins Bett, morgen mu\u0308ss ma naus\u00ab<\/span>
(Nora Gomringer, \u00bbBauernzart\u00ab)<\/span><\/p>

Suddenly everyone is talking about \u201cHeimat\u201d again, most loudly where it is backward-looking and therefore obsolete - and at the same time the term is so topical that it not only needs to be discussed, but can also be rehabilitated at the same time against the eternal apologists of the \u201cStammtischraunen\u201d. Gabriela Oberkofler, on the other hand, uses \u201cHeimat\u201d subtly and strikingly quietly, emphatically incidentally, as an artistic idea and as a social utopia\u2014and not least as a way of life. Reason enough to choose the draughtswoman, object, performance and video artist as the winner of the Gerlinde Beck Prize for Sculpture 2018. The subsumption of her work under sculpture may initially be irritating. One of her academic teachers, Werner Pokorny, wrote in a foreword in 2012: \u201cCan drawing in itself, the drawing of simple things, can sculptural considerations, pictorial attempts in general, be a way of marking positions in an increasingly complex situation?\u201d Approaching her favorite medium - drawing - as a \u201csculptural consideration\u201d should appeal to Gabriela Oberkofler, as she sees her art less as a technical visual language than as a social image. It would be possible to use social sculpture here, but this would place the artist's work too much in the tradition of Joseph Beuys, whose private myths were of a different nature than her connection of art to real nature\u2014in terms of man's alienation from it and the violence that man inflicts on it. Thus her private gaze is less mythical than actually directed towards a legendary homeland, which for the South Tyrolean from the small mountain village of Jenesien near Bolzano represents a completely different nature of its own than is generally implied when talking about 'homeland'. Before we ask ourselves the insoluble question of whether home is a (fated) place, a (political) concept or a (subjective) feeling, or all of these at the same time, let us briefly sketch the conceptual field in literary terms. It is less the artists who stand out here than the authors, be it in ironic denial as in Herbert Achternbusch, who derives the basically untranslatable word \u201cHeimat\u201d from the Bavarian 'hemad' (shirt), which is closest to one's heart, or as a critical thesis: in Robert Menasse (\u201cHeimat is a human right, nation a crime\u201d), Hertha M\u00fcller (\u201cPhantomschmerz im Erinnern\u201d) or Bernhard Schlink (\u201cDas eigentliche Heimatgef\u00fchl ist Heimweh\u201d). Home cannot be defined, but it can be told.<\/p>

Gabriela Oberkofler does not document a home, although she not only carries her image of Jenesien in her heart, but also stages it in her work - but then in such a way that it becomes universally valid. And when she incorporates nature, she sometimes creates a species-appropriate chicken coop in the front garden of her studio\u2014the 'Rosensteinalm'\u2014in Stuttgart's Wagenhallen, which translocates rural existence into the wastelands of industry. In all her exhibitions, she creates spaces that are dominated by finely chiselled, sometimes microscopically and sometimes macroscopically deepened or sometimes monumentalized drawings, but which become environments, spatial sculptures, through her sculptural thinking. In such a thoroughly narrative transformation of the world, Ernst Bloch enters her work as a guarantor, who as early as 1946 declared Heimat to be a forward-looking place of longing and a social desideratum, in short, the counter-position to all right-wing attempts at interpretation: Heimat not as a demarcation from the foreign, but as a \u201cphilosophical concept against alienation\u201d in itself, a world \u201cwhere the object is no longer afflicted with something foreign to it\u201d. In \u201cThe Principle of Hope\u201d it says: \u201cThe real genesis is not at the beginning, but at the end, and it only begins when society and existence become radical, that is, when they get to the root. The root of history, however, is man who works, creates, transforms and overtakes circumstances. Once he has grasped himself and established his own without alienation and alienation in real democracy, something arises in the world that shines into everyone's childhood and in which no one has yet been: home.\u201d<\/p>

Gabriela Oberkofler\u2019s works are characterized by breaks and gaps, omissions. \u201cMy aim is to show that something is missing.\u201d This is where her root treatment lies, which also hurts: for example, when her fictional-real home is laid out on tables\u2014a church tower, boats, fish heads that seem to peek out of the water, a fountain, a bridge, half a house, a knitting doll, hay bales, horse and deer legs, relics of past existence, next to plants that are sorted by leaves, stems, branches, thus destroyed. Art here, nature there. In between, the nature-loving guest's daughter groups so-called \u201csmall hybrids\u201d, mixtures, crosses. Object-like clay bowls with real plants, with cooperating growth forms such as fungi and lichens, as well as disproportions: Plants that displace each other, depriving themselves of the basis of existence. In addition to this sculptural world of memories, fractals, the floral and the sculptural, there is\u2014one might almost say\u2014the actual, graphic world, also entitled \u201cHybride\u201d. Gabriela Oberkofler creates a filigree, colorful shimmering flower culture with papayas, orchids, pomegranates, hibiscus and coconut. For all its realism, it is not about closeness to nature, but about a social category. We see overformations, new formations, cross-sections of stems and flowers, cell structures. This analytical view elegantly glosses over social questions: Who is in control of nature here? How do the species live together? Who displaces whom, who benefits whom? And what is nature? We see it through the breeder's gaze of civilization, of society; it has to deliver what we expect from it. The local region, the intimate world, meets the concessions of globalization\u2014the 'Oberkoflerin' has found the word \u201cglocal\u201d for this. The blending of private and general questions, the \u201cworries of being part of an ... unknown context\u201d, in connection with homesickness, the fear of homelessness through grafted forms of coexistence, allow the work to go beyond the image of nature. \u201cI think that the hybrid term 'glocal' plays an important role in this context,\u201d Gabriela Oberkofler said in an interview. \u201cI have always dreamed of taking everything that defines me - my culture or what my parents and my village have given me\u2014with me on my travels.\u201d The task of art is to give these ambivalent relationships a stage. The artist creates a multi-layered world from set pieces of our memories, experiences and knowledge. With her sculptural reflections on nature and home, she goes beyond drawing and highlights social contexts. The great Enlightenment philosopher Gotthold Ephraim Lessing already knew this: \u201cIn nature, everything is connected with everything else, everything intersects with everything else, everything changes one thing into another.\u201d With regard to home and its localization in a forward-looking spirit, let us once again quote Ernst Bloch, whose credo could provide a motto for an artist who climbed the post-war rubble mountain of Stuttgart, the so-called Monte Scherbelino, to \u201cyodel\u201d on it, who performed together with the Kastelruther Spatzen to fill the emptiness of being a stranger with the illusion of home, who had herself photographed in a fantasy costume on horseback with a pitchfork in her hand in front of an Alpine backdrop to pay tribute to rural life (and indirectly to fellow artist Marina Abramovic), and who, in a performance called \u201cBuggelkraxen\u201d, walks through the village street with a stretcher full of crate board houses\u2014in other words, with a 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