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Subversiune
Interviu cu Olaf Metzel realizat de Marius Babias
OLAF METZEL s-a næscut în 1952 la Berlin, træieøte øi lucreazæ la München. A studiat la Academia de Arte
din Berlin. A avut prima expoziflie personalæ în Berlinul de Vest în 1982 øi a participat la expoziflii importante
precum Documenta VIII (1987), Skulpturprojekte Münster (1987, 1997), Bienala de la Sydney (1990), Bienala
de la Istanbul (1995), Bienala de la São Paulo (2002). Lucrærile sale din spafliul public ocupæ un loc major
în cadrul artei germane contemporane. Materialele cu care lucreazæ în principal includ ciment, metal øi plastic,
precum øi obiecte produse în masæ. Din 1990, Metzel este profesor la Academia de Arte din München;
între 1995 øi 1999 a fost øi rector al aceleiaøi academii. A primit premiile Arnold-Bode-Preis în 1994 øi Darmstädter
Kunstpreis în 1996.
Marius Babias ¬ Cum te simfli cînd te reîntorci la Berlin? Særufli pe aeroportul Tegel
pæmîntul oraøului tæu natal?
Olaf Metzel √ O, Doamne. Am trecut pe aici destul de des, însæ Berlinul e ca
întotdeauna: dupæ trei zile – ajunge. Am plecat în 1987. Era o ieøire bunæ dupæ lucrarea
de pe Ku’damm 1 , 13.4.81. De atunci am revenit doar ca turist intensiv. Însæ
dupæ trei zile sînt iaræøi în avion. Situaflia s-a schimbat, astfel încît tofli artiøtii stipendiafli
din Est au venit aici. Înainte exista încæ zidul acela comod øi cînd mergeai spre Germania
de Vest aveai senzaflia cæ vii de pe frontul de est. Cred cæ azi lucrurile nu stau
cu mult altfel.
¬ Sculptura ta din garduri metalice suprapuse, 13.4.81, din cadrul expozifliei
berlineze Skulpturenboulevard [Bulevardul Sculpturilor] a declanøat un val de indignare.
Se vedea în ea o manifestare de simpatie faflæ de „huliganii autonomi“. 2 Senatul
berlinez condus de primarul Eberhard Diepgen a dispus îndepærtarea sculpturii øi, la
puflin timp, te-ai refugiat la Roma øi, mai apoi, la München – de frustrare sau de fricæ?
√ Spusesem deja de dinainte cæ plec, însæ n-a crezut nimeni. La Roma mi-a fost
clar: în mænæstirea aia gri nu mæ mai întorc.
¬ Øi aceastæ decizie n-avea nimic de-a face cu controversele privind lucrarea?
√ Nuu, ele erau deja parte a lucrærii încæ de la punerea în scenæ øi de la idee. Mæ
interesa manipularea prin intermediul mass-mediei. Doar øi tu, dupæ aceastæ discuflie,
manipulezi totul aøa cum îfli convine. Æsta-i un hobby al jurnaliøtilor. Pe atunci,
chiar înainte de alegeri, fusese lansatæ în mass-media øtirea falsæ cum cæ teroristul
Sigurd Debus 3 ar fi murit în greva foamei, iar demonstraflia violentæ din 13.4.’81 ar
fi fost o reacflie la asta. Aceastæ conexiune voiam s-o surprind, într-o formæ modificatæ.
Lucrarea a fost ræsturnatæ perpendicular de cætre mass-media. Ecourilor
acestora trebuia sæ le faci faflæ; erau, ca sæ zic aøa, parte a punerii în scenæ.
¬ Aøadar, mass-media s-a simflit provocatæ?
√ E relevant cum a fost discutatæ aceastæ lucrare în Tagesspiegel, de exemplu. Celelalte
sculpturi au fost tratate pe larg, în timp ce lucrarea mea, în ultimul paragraf, a
fost declaratæ, mai mult sau mai puflin, o græmadæ de gunoi. Cicæ n-ar avea nimic
de-a face cu arta øi nu ar putea sæ fie inclusæ în foileton. Am primit foarte multe mesaje
semnate de la fani, dupæ lozinca: „În camera de gazare!“. Dupæ aceste reacflii, trebuia
sæ trag concluzia cæ berlinezul de rînd are 60 de ani øi-i apucat de-a binelea.
Lucrarea a fost apreciatæ internaflional, doar aici n-a fost înfleleasæ.
¬ Te-a enervat faptul cæ sculpturile lui Matschinsky-Denninghoff øi Vostell au fost
cumpærate, iar a ta nu?
SUBVERSION
Interview with Olaf Metzel Realized by Marius Babias
OLAF METZEL was born in 1952 in Berlin, is based in Munich. He studied
at the Berlin Academy of Fine Arts. He had his first solo exhibition in West
Berlin in 1982 and participated in major exhibitions such as Documenta
VIII (1987), Skulpturprojekte Münster (1987, 1997), Sydney Biennale (1990),
Istanbul Biennial (1995), São Paulo Biennale (2002). His outdoor works are
among the most important produced by contemporary German artists.
His principal materials include concrete, metal and plastic, as well as
mass-produced everyday objects. Since 1990, Metzel has been professor
at the Munich Academy of Fine Arts; from 1995 to 1999, he also served
as rector at the same academy. He is the recipient of Arnold-Bode-Preis
1994 and Darmstädter Kunstpreis 1996.
Marius Babias ¬ How do you feel when you return to Berlin? Do you
kiss your hometown native land on Tegel Airport?
Olaf Metzel √ O, Lord. I have been here often enough; yet, Berlin is
the same: after three days – it’s enough. I left in 1987. It was a good
exit after the work on Ku’damm 1 , 4.13.81. Since then I have come
back only as intensive tourist. But after three days I’m back again on
the airplane. The situation has changed, so that all the subventionartists
from the East have come here. Before there still was that comfortable
wall, so when you were going towards Western Germany
you were having the feeling of coming from the eastern front. I think
that today, things are not much different.
¬ Your sculpture of superposed metallic fences, 4.13.81, comprised
in the Berliner exhibition Skulpturenboulevard [Sculptures
Boulevard] stirred up an indignation wave. One can see in it a display
of sympathy towards the “autonomous hooligans“. 2 The Berliner Senate
ruled by the mayor Eberhard Diepgen had enjoined the removal
of the sculpture and, shortly after, you retreated to Rome and then
to Munich – was it out of frustration or fear?
√ Before that I had already said that I would leave, but nobody
believed it. In Rome things were clear for me: I’m not going to go
back to that grey monastery.
¬ And this decision had nothing to do with the controversies
regarding your work?
√ Boo, they were already a part of the work ever since the enactment
and the idea. I was interested in the manipulation through the
media. You too, after this discussion, you manipulate everything as
you’re pleased. That’s a journalists’ hobby. Back then, just before the
elections, the false news that the terrorist Sigurd Debus 3 would have
died during hunger strike had been launched in the media, and the
violent demonstration from the 4.13.81 would have been a reaction
to this. It is this connection that I wanted to catch, in a modified
form. The work was perpendicularly reversed by the mass-media.
So these echoes were to be dealt with; they were, so to speak, part
of the stage.
¬ So did the media feel challenged?
√ It is relevant how this work was discussed upon in Tagesspiegel,
for instance. The other sculptures were commented on expansively,
while my work, in the last paragraph, was declared to be, more or
less, a scrap heap. It would have nothing to do with art and couldn’t
possibly have been included in the feuilleton. I got very many signed
MARIUS BABIAS a studiat literatura øi øtiinflele politice la Freie Universität din Berlin. Este autorul cærflilor Herbstnacht
[Noapte de toamnæ] (1990), Ich war dabei, als… [Eram acolo, cînd...] (2001) øi Ware Subjektivität (2002)
(trad. rom.: Subiectivitatea-marfæ. O povestire teoreticæ, Cluj, Idea Design & Print, 2004), Berlin. Die Spur der
Revolte. Kunstentwicklung und Geschichspolitik im Neuen Berlin (2006) (trad. rom.: Urma revoltei. Arta øi politica
istoriei în noul Berlin, Cluj, Idea Design & Print, 2006).
MARIUS BABIAS studied literature and political science at the Freie
Universität in Berlin. Babias is the author of Herbstnacht (1990), Ich war
dabei, als... (2001), Ware Subjektivität (2002) and Berlin. Die Spur der
Revolte. Kunstentwicklung und Geschichspolitik im Neuen Berlin (2006).
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