JVA Stammheim

Organisatorisch hat alles, wie gewohnt, super geklappt.
Spaßiger Intelligenztest, persönliche Struktur Analyse, Zahlenrätsel, Gedächtnisspiel, .... ,

Tischtennis, Fußball ...

 

Der Höhepunkt war allerdings die Beteiligung von C.v.K.. Sie zeichnete die Umrisse der Hände

eines jeden Teilnehmers auf Papier nach, daraus wurde ein Gesamtkunstwerk ausgelegt. Ganz toll.

Dann wurden die Jugendlichen gefragt, was das für einen Eindruck auf sie machte. Da kamen

unwahrscheinlich kreative Gedanken zu tage. Hätte ich so nicht für möglich gehalten.

Es gab standing ovations.


P.G.H. nov. 2010, JVA Sozialpädagogischer Arbeitskreis Diözese Rottenburg

Reflections from the Participants
Oxford, OVADA Gallery , 02. -05. October 2009


‘walking around, finding the entrance, going in, reaching a centre, standing, looking at the static drawings, in a silent, breathing space; then going out, experiencing gravity on the slates, in relation to the dark cloth, shaping the gesture with the own body in standing on the pedestal, while the artist moves drawing’.


…’We don’t know our body enough’…


… ‘coming closer to the own image through another’…


… ‘there is a difference of the self image, the image that has another of me and the mirror image’,…


‘It starts to look like a tree…. ‘ (a visitor wrote this on a roof slate)


… ‘going into the space, is like entering the Labyrinth’...


… ‘I liked how the paper moves, when somebody walks around ‘…


Written comment of a participant:


Upon entering the upper room in Ovada Gallery and advancing towards Claudia’s installation I felt like trapped INBETWEEN the field of attraction of polarities: RIGHT/LEFT, WHITE/ BLACK, LIGHT/HEAVY, SOFT/ROUGH, ROUND/RECTANGULAR, TRIDIMENSIONAL/FLAT.

I turned instinctively to the RIGHT, to the LIGHT. The round shape of the vaporous sheets indicated that this was a space to explore – a labyrinth perhaps, or the perfect chamber of an archaic Nautilus, or a cosmic egg with a pulsating center of light – and not to cut through the first accidental gap through the paper sheets. I seemed to travel a long time, walking along the paper, when I found the entrance: in the center of this most frail labyrinth stood a book, WHITE like the sheets of paper surrounding it. The image in the book vaguely reminded me da Vinci’s drawing of the Vitruvian Man.

While I was attracted towards the installation to the RIGHT, with its sheltering, round and luminous presence, I hesitated to go near the installation to the LEFT, which appeared dark, solitary and even hostile.  But late, in the interactive part, one discovers that this dark and black surface receives the outline of one’s body and therefore, at least symbolically, it includes, it assimilates it. While the installation at the RIGHT is designed to be accessed, the one at the LEFT is designed to access us.


The rich play with polarities, which seems to be the principle on which the installations have been created is endless: the luminous, smooth round labyrinth to the right might as well symbolize the spiritual world of which we occasionally get a glimpse, the black, opaque, rough rectangle to the left could correspond to the material world in which we seem to be trapped.

We do not belong to either of these worlds. We are INBETWEEN.

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