Das Lächeln Mona L.s bleibt unerwidert

Le sourire de Mona L. reste sans réponse

Mona L.’s smile remains unrequited

Kulchur Pieces # 3

CR 63. Year 1978

Das Lächeln Mona Jochen Gerz Cr 63 Web 5
Das Lächeln Mona Jochen Gerz Cr 63 Web 6

VORTEX GAUDIER-BRZESKA
(Geschrieben 1914 im Schützengraben)

ICH KÄMPFE SEIT ZWEI MONATEN und kann die Heftigkeit des Lebens nun ermessen. MENSCHLICHE MASSEN schwärmen aus, ziehen einher, werden vernichtet und kommen wieder. PFERDE werden zerschunden in drei Wochen, sterben am Straßenrand. Hunde streunen umher, werden vernichtet, und andere kommen daher.

With a title referring to the irrevocable separation between picture and viewer, this work consists of two parts linked by 17 metres of plastic rope stretched 60 cm above the floor. … The direct recording of the monitor image by the camera produces feedback. 'Mona L.'s smile remains unanswered' (# 3 of his 'Kulchur Pieces') is the only work by Jochen Gerz possessing this video-specific effect.

Rudolf Frieling 2014

Categories

Installation

Wooden post, h = 2.2 m, d= 0.5 m, Mauser rifle, text (typed on paper, 9 sheets, each 29.5 x 19.5 cm, bound in transparent plastic covers), nylon cord, rotating disc with motor and frequency control unit, round wooden disc (framing lumber, painted with photographic opaque), d = 5m, video camera, stand, monitor, white wooden pedestal, 130 x 50 x 43.5 cm, 2 wooden chairs (painted with photographic opaque), nylon thread, 1 loudspeaker, 2 CD players, 2 CDs with spoken text

A Mauser rifle and a typescript of the Vortex Manifesto of the sculptor Henri Gaudier-Brzeska, written in the battle trenches in 1914 and translated by Gerz, are attached to an upright wooden post. A nylon cord forming an endless loop is stretched around the post and is driven by a rotating disc from the other end of the room. On a circular framing lumber disc slowly turning above, a video camera and a monitor are positioned facing each other. The monitor shows an image of itself, recorded by the camera, and nylon threads running between them, to which two small wooden chairs are attached. A man’s voice comes from a loudspeaker beneath the wooden disc. A woman’s voice answers from the loudspeaker on the floor near the post. 

See the manuscript of the same title (661). 

Exhibitions

Münster 1978. Wiesbaden 1997. Genève 1999

Bibliography

I: Münster 1978, pp. 4-11, 22-30. Regensburg 1982, pp. 80-81. Ludwigshafen 1984, pp. 148-159. Bielefeld 1985, p. 204. Paris 1994a, p. 139. Wiesbaden 1997, pp. 13, 120-135. Genève 1999

II: Haase 1978. Red. 3, 1978. Red. 4, 1978. Red. 5, 1978. Red. 2, 1979, p. 196. Syring 3, 1981, p. 58. Schmid 1989, pp. 34-35. Crüwell 1997. Fischer 1+3, 1997. Grus 1997. Haase 2, 1997. Melten 2, 1997. Rudel 1, 1997. Schossig 1997. Schwarze 1997

IV: Düsseldorf 1984, p. 320

V: Wolf 1992, pp. 12-13

Access general bibliography

My name is Jochen Gerz