Pioneers!

Pioniere!

Pionniers!

CR 82. Year 1982

Wv 82 Pioniere 225

Not much more to get out of it. In fact, everybody here knows it well enough: not much more to get out of it. You can play captain for ever. Nothing new about that. That's just it: lots of captains, no one leaves the sinking ship. I won't leave my ship in the lurch. The picture is not what it was, either. You can keep on reporting: I'll leave the old boat last. You are not the first, you are not the last. Even the picture is shot. The rats have left, the friends are gone - and the storm and the ship and the sea? Even if you were looking forward to that, going down, after all? The picture is absurd, that's just it.

The critique, the exposure of the unreality of the media, of the cultural rituals, of the artwork as something timeless, as values detached from reality is only one side of Jochen Gerz. He is, on the contrary, about something else. His critique targets the forces opposing what it is all about. It always expresses the wish to live, not only to be part of something, not only to fulfill a function – to live life passing by, which is not distinct or defined, life which is also not timeless, and which cannot be perfect.

Erich Franz 1981. Translated by eCR editors

Diese Kritik, das Entlarven der Scheinwirklichkeit der Medien, der kulturellen Äußerungen, der Kunstwerke als das Zeitlose, als von der Wirklichkeit abgehobene Werte, - diese Kritik ist nur die eine Seite bei Jochen Gerz. Es geht ihm eigentlich um etwas anderes. Seine Kritik richtet sich gegen das, was verhindert, worum es ihm eigentlich geht. Dahinter steht bei ihm immer der Wunsch, zu leben, nicht nur eine Rolle zu spielen, nicht nur eine Funktion zu erfüllen. Leben, das ist das, was wieder vegehen wird, was nicht deutlich und nicht festgelegt ist, was auch nicht zeitlos ist, was nicht vollendet ist.

Erich Franz 1981

Dans Pionniers!, l’image de spectateurs pris au hazard était diffusée sur l’écran d’un moniteur, tandis qu’une voie pré-enregistrée dévidait un monologue évoquant … le voyage. Sur un autre moniteur, était diffusée l’image d’une colline à laquelle les spectateurs tournaient le dos. Cette parodie du pouvoir de l’écrivain, qui applique des destins imaginaires à quelques personnes entrevues, redit que les fictions sont inhabitables et ne permettent pas même de faire abstraction du lieu.

Patrick Javault 1983

Categories

Performance

Tarpaulin, 2 lamps, video camera, 2 monitors, cassette recorder, cassette

Duration 30 minutes

Jochen Gerz lies beneath a tarpaulin in front of two monitors stacked one on top of the other. The monitors play live video recordings of five viewers among the public, each of which is recorded by a camera. A prerecorded audio tape accompanies each sequence. An edition of the same title is realized on the basis of the performance (808). A video documentation of the performance also exists (689).

​Realisations​

Calgary, 1.10.1982. Heidelberg, 11.11.1982. Nelson, BC, 1982. Wuppertal 1983. Paris 1983. La Roche-sur-Yon, 1983. Kassel 1983. St. Gallen 1984

Bibliography

I: Bielefeld 1985, pp. 168-169, 219. Düsseldorf 1988, pp. 20-21. Paris 1994a, pp. 276-278, Genève 1999, pp. 47ff. Paris 2002, pp. 64-65

II: Red. 4, 1982. Gibbon 1982. Javault 1983. Angersbach 1984. Osterwalder 1984

Access general bibliography

Documentation

Video, 20:40 min
Vidéo Les Beaux Jours, la Maison de l’Image, Strasbourg and imai, inter media art institute, Düsseldorf

My name is Jochen Gerz