B1|A40 THE BEAUTY OF THE GRAND ROAD

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The observer’s glance takes in two things at a time: it perceives at once the hiding and the revealing element. For one thing there is the view from inside, which is reserved for the residents: it plays with the redirecting of the accustomed view of the street; while in places it is obstructed by the corrugated iron sheeting, in others it is opened towards the sky. But there is also the outside view of the Fixed Star, of the house, the street, the sound protection wall, the traffic. It applies to all external observers, influencing their way of perceiving the scenery. The traffic signs on the A40 are turned into a visual counterpart, as are the materials used for the crash barriers on the motorway. House, street and situation seem to generate a symmetry sublimating the change of perspective from inside to outside and vice versa, and reflecting the situation as a whole. Franke’s approach suggests an interrelation of direction and abandonment. His Fixed Star transfixes our eyes while opening them. Manuel Franke’s spatial interventions could be described as scenical-dramaturgical, oscillating between exterior and interior and between sculpture, installation, architectural element and image. Franke is sculpting ideas of image and space located at the interface between art and society. The image which is generated physically is incomplete without the social activities to which it refers. They are an aspect of the image which resides in the immaterial as an attitude. In his work, the cladding of the facades and the revelation and explanation 154
of the construction is pervasively referring to the situ ation as a whole, that is the specific context of the individual site, integrating such subtle elements as the intensity and change of light and the general atmosphere. The shift in perspective, which marks a differentiated visibility and integrates the emotions of the observer – not least those of the residents themselves, as is the case here – is a subtle yet fundamental element of Manuel Franke’s artistic approach. The wonderful thing is that the Fixed Star shines on long after its physical disappearance. I no longer think about personal creature comforts when passing Essen- Frillendorf on the A40; now my thoughts revolve around the nexus of a progressive structural change intersecting our mobile lifestyle. Thus the Fixed Star has not only triggered a spatial change of perspective during its temporary presence, but also initiated a change in socio-political awareness surfacing time and again. CHRISTINA IRRGANG FIXSTERN MANUEL FRANKE 155
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B1 A40 DIE SCHÖNHEIT DER GROSSEN S
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B1 A40 DIE SCHÖNHEIT DER GROSSEN S
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166 172 178 BO-DÜCKERWEG | DÜCKER
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GRUSSWORT Wenn im Ruhrgebiet von de
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B1IA40 FREIES HANDELN IN BESETZTEN
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der Region mobilisierten die Bewohn
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Nachdenken über Landschaft, Ökolo
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esidents along the fringes of the A
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Von links nach rechts From left to
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concept of landscape, ecology and t
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DU-KAISERBERG27
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Jeanne van Heeswijk, Britt Jürgens
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DIE ZUKUNFT DER LANDSCHAFT 33
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eiden geht keine Bewirtschaftung me
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DÖRNERHOF One could start out by a
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und Lebensqualität hier durch die
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TRAMPELPFADE - EINE WANDERAUSSTELLU
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TRAMPELPFADE - EINE WANDERAUSSTELLU
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THE BEAUTY OF THE GRAND ROAD “Peo
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the perspective from outside, now r
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später essen. Wir mögen nicht, da
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GEESE OPERA | IN COLLABORATION WITH
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DANICA DAKIC GÄNSEOPER 65
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MH-EICHBAUM67
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MOMENT AND CONTINUITY | EICHBAUM SU
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Auf dem Feld hatte sich in einem Ko
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LANDSCHAFTSPARK B1IA40 WANDERWEGE 7
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LANDSCHAFTSPARK B1IA40 WANDERWEGE 7
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WURST Die Landmetzgerei von Johann
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At some of the exhibition’s vario
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Selbsteinschätzung von Kunst im ö
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EICHBAUMGOLD MARTIN PFEIFLE & WANDA
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EICHBAUMGOLD MARTIN PFEIFLE & WANDA
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Page 109 and 110: Junges Roma-Theater Lolo Bashno unt
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Page 119 and 120: sich im besten Sinne Volkskultur un
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Page 127 and 128: agglomeration, die sich die Autobah
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Page 133 and 134: Close by, a furniture store invites
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Page 141 and 142: sort of housing or business within
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Page 153 and 154: Nachbarschaft zu wissen. Manuel Fra
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Page 165 and 166: OHNE TITEL JAKOB KOLDING 163
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Page 169 and 170: DÜCKERWEG RELOADED Die Gewerbeaggl
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Page 181 and 182: THE BEAUTY OF THE GRAND ROAD Appare
Page 183 and 184: DIE SCHÖNHEIT DER GROSSEN STRASSE
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Page 187 and 188: KULTURELLE KREUZUNGEN BO-HAMME Manc
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Page 191 and 192: FREUDE Das langgestreckte Gebäude
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Page 205 and 206: TANZ Die Tänzerinnen und Tänzer d
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BERGGATE 69 205
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MUSEUM BERGGATE 69 The temporary mu
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MUSEUM BERGGATE 69 223
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INGE BAECKER „ICH HABE MIT VOSTEL
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einer Bank gehängt. Dadrauf stand:
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BUTTERFAHRT Zahlreiche Bustouren f
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ELKE KRASNY AUS DER LANDSCHAFT DER
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Reisefreiheit, Immigration, Arbeit,
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designers. They never feel as if th
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AUS DER LANDSCHAFT DER EIGENSTÄNDI
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gab ihnen als gebautes Zeichen wäh
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start an action to save the village
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DO-SCHÖNAU245
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REKONSTRUKTION EINER LANDSCHAFT Der
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REKONSTRUKTION EINER LANDSCHAFT 249
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the allotment gardens, while confro
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CHRISTIAN ODZUCK POLYTOPOS DORTMUND
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Polytopos Dortmund* ist Skulptur al
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his interventions as “an expressi
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POLYTOPOS DORTMUND* CHRISTIAN ODZUC
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DAS GEMEINSAME Viele dieser Element
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catory bond” which at the same ti
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List, mit der der Traum sich der In
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„Billboards are almost all right.
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PERFORMANCE ELECTRICS OFFROAD Auf f
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of the major contemporary and futur
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ALLES KÖNNTE ANDERS SEIN, SOGAR DA
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ALLES KÖNNTE ANDERS SEIN, SOGAR DA
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RAUM VS. PRAXIS Die westliche Hemis
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Strukturwandel oder Kreativindustri
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metropolitan fantasies, the local p
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KÜNSTLERBIOGRAFIEN DANICA DAKIĆ *
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AUSSTELLUNG EXHIBITION B1|A40 DIE S
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B1|A40 THE BEAUTY OF THE GRAND ROAD

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