While the original constantly changes – not due to exhaustion alone –, the viewer remains stuck with the status quo: he is relieved of contributing his own thoughts and feelings.Detlef Blümler 1989. Translated by eCR editors
Während das Original sich - nicht nur durch Erschöpfung - ständig verändert, … verharrt des Betrachters Blick auf dem Status quo: er ist des (Mit-)Denkens, des (Mit-)Fühlens entledigt.Detlef Blümler 1989
Exhibition of Jochen Gerz next to his Photographic Reproduction, was particularly effective in revealing the process of observation as demonstrated by chance passers-by in the street. They gave the photograph more of their attention and seemed to believe it more than they did Gerz’s physical presence. This behaviour suggests that we are always looking for the secret behind reality. As Jochen Gerz says, “The artistic form has a criterium we can examine and determine: its visibility. We would really like to consume ourselves just like we do the objects we produce and own. We are our communication, but we don’t have ourselves yet, even though we would like to, like a collector owns “his" picture. We are not satisfied with ourselves, we would like to be like the pictures we make, so lasting, so final, so vertical. The word for what we would like to own is relatively new, it is communication. Since it has existed, it has become a monument for all that we have been missing….That, which increasingly bothers us and terrorizes us is everything that ‘only’ lives. We act defensively towards life, as if we were the governors of images, as if we had to defend our images against ourselves.Andreas Vowinckel 1992
La performance ... montre en outre que le regard du spectateur s'attache à la copie plutôt qu'au modèle. Conditionnés par les média, nous ne percevons plus la réalité qu'à travers ses reproductions. L'original (la vie) est chassé par son double inerte.Colette Garraud 1981
Performance /Work in Public Space
b/w photograph, 60 x 52 cm Duration 2 hours
Jochen Gerz stands in front of a building on a busy street next to a portrait photo of himself taken at the same spot on the same day. A video documentation exists (670).
I: Darmstadt 1973, p. 147-153. Firenze 1973, p. 25. Roma 1973, p. 25. Karlsruhe 1975a, p. 13, p. 126-127. Paris 1975a, p. 13, p. 58. Luzern 1979, p. 75. Bielefeld 1981, Cover, p. 37, p. 96. Düsseldorf 1988, p. 2. Essen 1991, p. 7-8. Bremen 1992, pp. 24, 42-43. Sydney 1992, p. 110. Vancouver 1994, p. 41. Bremen 1995, p. 12. Tel Aviv 1995, p. 23. Wien 1995, p. 412-413. Los Angeles 1998, p. 194-195. Bolzano 1999 p. 116. Zürich 2000, p. 112, Paris 2002, pp. 38-39, 172. Ivry-sur-Seine 2017, pp. 69-70, 160-161
II: Borgeaud 1973, p. 75. Gribling 1973, p. 17. Giroud 1974, p. 16-17. Haase 1976. Molderings 1, 1980, p. 126. Red. 4, 1984, p. 9. Drateln 1989, p. 44.
III: Unruh 1990, p. 101. Jappe 1993, p. 37. Mastei 1994, p. 6. Louis/Widrich 1997, p. 13. Gebhardt 1999
V: Chobot 1974, p. 351. Molderings 1984, p. 171. Molderings 1985, p. 202. Wolf 1992, p. 227. Riese Hubert, R. & Hubert, J. D., 1999, p. 131
VI: Magazin Kunst 49/1973, p. 12. Magazin Kunst 52/1973, p. 98. Schmidt 1978, p. 134. The Event Horizon 1987, p. 274
11 b/w photographs
Video, 16:53 min (Markus Hofbauer)
Vidéo Les Beaux Jours, la Maison de l’Image, Strasbourg and imai, inter media art institute, Düsseldorf
Exhibitions of the documentation
Barcelona 1973. Köln 1974. Lausanne 1974. Paris 1974. Paris 1975. Bruxelles 1975. Basel 1977. Venezia 1979. Cergy-Pontoise 1981. Wien 1993 . Moskau 1994. Tel Aviv 1995. Wien 1995. Rennes 1996. Paris 2015. Sotteville-lès-Rouen 2016.