Audio interviews and a tasting
An ongoing research project about taste and memory that started during a two-month residency in New York. In meetings with casual acquaintances of all ages, gender, professions and nationalities interviews are conducted accounting for taste memories that are recorded acoustically.
In summer 2010 the collective SEX opens Sex®Shop at Städtische Galerie Bremen, a temporary record store for a period of five weeks, where first and second hand records from all areas of music can be heard and purchased. On the walls and on tables various installative works of SEX collective are being shown, that relate to the music history of popular music.
The „dreijahre“ meaning „threeyears“ is an art space for a limited amount of time between 2007 and 2010. The project includes a bar, a dining area, a living room, a parlor and a secret club in the basement. The table is set, time is measured. A digital countdown counts down the days. Three years, (1095 days) on the border of gastronomy and art, the visible and the invisible, the trivial and the special, the sensual and the spiritual. Nothing looks like art yet art is the reason and the form. Only through the artistic assertion it is being transferred into the art space and the question is being raised about what today art can be and where art happens.
A meeting to experience situational esthetics: Cooking and gastronomy as part of the esthetics / A co-operation between “Gastraumprojekt dreijahre”, Bremen (D) and “AcadémieGalan” (F)
A field trip to a different place where body and soul are stimulated sensually. Part of the “dreijahre” team, including the chef, travels to Académie Galan
in France to meet up with artists and guests of the academy. The agreement is as follows: Five nights are spent dining together with prolonged evenings of multi-course meals. The Conversations between different courses deal with notions of everyday life, art, non-art, indulgence and deficiency. Eating and speaking, meals and discussions alternate. Every evening is initiated by an artist´s lecture.
„Paradise Garage“ pays tribute to disco music of the late seventies and house music of the early eighties. Both are originally subcultural music styles which accompanied the emancipation movement of homosexuals and ethnic minorities in the United States. In Europe, disco has become known in its more glamorous form, realigning itself with the mainstream in contrast to its North American origin.
Based on the idea to transfer one own´s band rehearsal room into an exhibition space, the work piece bandroom is being created. Being shown is a fictional contemporary space in which music is being created and experimented with, representative of the many similar spaces worldwide which could also be seen as one interconnected sound laboratory. The artist-cum-musician collective SEX contacted other musicians and bands to integrate objects from unknown rehearsal spaces into the installation.
“The Hotel will disappear.
The connection to the bigger twin has been cut.
They were dependent on each other for heat and water.
A circuit. Since then there is oil in the basement.
It has yet to be verified how valuable it is.”
It was not merely regret, it felt more like a melancholic void that I have not been able to shake ever since, true to its inner logic, dreijahre restaurant closed down for good in 2010. As a guest, I was wonderfully taken care of to such an extent that, though well aware of it, I had managed to repress all thought of the digital tick-tock that counted down the time remaining for this art project by dilettantin produktionsbüro which had been set up in 2007. And then, in a good mood as usual expecting a feast, I suddenly encountered a locked door, and the question presented itself: Where to go in Bremen? Where to meet friends and acquaintances, where to have business, conspiratorial, silly and professional talks? Not that there weren’t any restaurants in this city, there were just none that compared.
By Rolf Thiele
When there was still enough time left, and something already existed I replied when asked that the work was almost finished. A permanently recurring experience, a kind of déjà-vu, geared to the future, which quite evidently belongs to the realm of the absurd. Previously, when there was still a lot of time I let it mature – too early and then too late – never on time. There was this unease connected with it, a feeling of alienation towards the task taken on and which describes a distancing from the same. But the assumed task does exist, it is real, and things happen in real time – but the individual time, which gives rise to the lack of production does not correspond with the elapsed time. You are either too early or too late.
Alienation seizes space, creates a means of expressing something that is separated from yourself. It was only in this space that I could begin to understand what I intended to do. According to Antonio Tabucchi too late means the longing for what we will never be again, and for what we might have become but have never been. The productive moment, triggered by lack is the negative moment in the aesthetic experience. Much of what we could have done was put off, sometimes a work planned in youth and put off until old age.