Lecteur 1

Reader 1

Jochen Gerz and Manfred Mohr

CR 2. Year 1968

Wv 2  Lecteur1  Abb  002

    The viewer – or rather the reader is quite aware of his confusion however and it is only the constant denial of this phenomenon by our cultural establishment - demanding the unconditional integration of the artwork, which leads to frustration, and to the impossibility of a creative and active experience of art. In order to relieve the reader from this cultural burden we chose the name “Reader I” and we were quite aware of the fact that by this we would create an analogy, a kind of bridge: since the object in front of you is called reader, you can consider yourself freed from “having-to-read” art.

    Manfred Mohr, 1969
    Translated by eCR editors

    Der Beschauer oder besser Leser ist sich jedoch seiner Verwirrung durchaus bewußt, und erst die ständige Verleugnung dieses Phänomens durch unseren Kulturapperat, der die bedingungslose Integrierung des Kunstwerks will, führt zur Frustration, zur Unmöglichkeit der kreativen aktiven Kunsterfahrung. Um dem Leser diese kulturelle Hypothek zu nehmen, haben wir den Namen "Leser I" gewählt, und wir waren uns durchaus bewußt, daß wir damit eine Analogie machten, einer Art Eselsbrücke: da das Ding vor dir "Leser" heißt, kannst du dich vom "Kunst-lesen-müssen" befreit betrachten..."

    Manfred Mohr, 1969

    Co-author Jochen Gerz, who puts emphasis on not wanting “Reader I” to be misread as a plastic problem (“I am rather indifferent towards the final state of an artwork – text or sculpture - which is always arbitrary from an aesthetic point of view. What is important is the action, the process it triggers”) considers irritation, helplessness, to be a fundamental element of the experience of art.

    Manfred Mohr, 1969.
    Translated by eCR editors

    Co-Autor Jochen Gerz, der Wert darauf legt, den "Leser I" nicht als plastisches Problem mißverstanden zu wissen ("der vom ästhetischen Gesichtspunkt aus immer zufällige Endzustand eines Kunstwerks, ob Text oder Plastik, ist mir so ziemlich gleichgültig, was zählt, ist der Akt, die Aktion, die es auslöst.") hält die Irritation, die Ratlosigkeit, für ein elementares Element der Kunsterfahrung.

    Manfred Mohr, 1969

    Categories

    Description

    Black ink on plastic wrap, cardboard column, 19 white polystyrene balls, 19 loudspeakers, amplifier, foot switch, 200 x 50 x 50 cm. Whereabouts unknown.

    Transparent plastic with printed texts is wrapped around a column containing loudspeakers, on which white balls are placed. By activating the foot switch, the viewer triggers the emission of monotonous sound impulses. These are transferred by the loudspeaker membranes to the balls, which then translate the rhythm into movement of the plastic wrapping.

    The plastic wrapping is part of the performance Lecteur 2 (3)

    Exhibitions

    London 1968. London 1969. Modena 1969. Novarra 1969. Heidelberg 1969. Paris 1969.

    Bibliography

    I: Fürth 1969, p. 17. Heidelberg 1969

    II: Red. 4, 1969, p. 55. Red. 15, 1969, p. 2. Red. 20, 1969, p. 19. Red. 9, 1970. p. 96. Red. 12, 1975, p. 7 

    VI: i 4 Soli 1969, p. 29

    Access general bibliography

    My name is Jochen Gerz