Chris Reinecke

1967

Periodical
Materials:

Collection: Studio Chris Reinecke.

Newspaper with a text by Chris Reinecke about her own work, Überlegungen zu meinen Machwerken, and an analysis of her interactive work each time with a photo, the prescriptions and the reactions of the public. 

Considerations about my Machwerken   12.1.67

The sense of the Machwerken is to connect the idea of the maker with the interest of those for whom it is made. Where no interest is shown, it is necessary to check what the maker has done wrong or [how] interest or curiosity can be aroused. (on the how, I come back later)

Those for whom the Machwerken are made must participate in them – turning them into a possible end product – see for example 'Schattentaschen' ['shadow bags'], that only acquire their full validity when the participants draw the shadows or 'Auflösbare und sich auflösende Landschaft' [decomposable and decomposing landscape] or 'Wattespendende Landschaft' [cotton-wool -outreaching landscape] or 'Teller' [plate] e.g.

I do my best so that my idea and its implementation create a connection between my view and the view of the person I want to involve and between those involved. Material for ideas is provided by the environment, everyday life, which eludes us in the way it appears – it is 'unintelligible', 'unrealisable'. Everyone knows the examples that give rise to my ideas – nothing should stand in the way of an understanding.

Artists talk about 'lowering themselves to the level of the people', 'starting in kindergarten'.. It is right to close the gap between artists and the public – but to see the public as children is wrong – because then a new, different gap would arise.

I think it is possible for an individual (artist or creator, or whatever you want to call it) to provide an initial situation that ensures an entrance to the lived experience of the spectators and encourages them to further find words – yes, that this initial situation is further developed by the spectators in a way that in turn is new and inspiring for the maker. In addition, everyone would have the opportunity to become an artist, or someone who experiences autonomously. The question of whether this autonomy is lasting or not is important. I realise that this process of change will be very slow, autonomy will have to be spurred on over and over again – perhaps aroused in the beginning by curiosity, or perhaps just by the urge to be-able-to-intervene and to-have-to-intervene as with the destructible cotton wool landscape or with the invincible flour landscape.      

There are ideas like the 'flour lounger' or the 'flour cushion' that I think many participants will feel involved in, because many people are curious to see a part of their body or of their bodies impressed in a precise way. The I plays the greatest role in the relation to the environment. If this I is related to the idea of the Machwerk, the condition for the bond with the participants is fulfilled. Each person's impression can be erased again and replaced with another person's impression. – This is how the connection between the participants is established.

If interest is not aroused, I build in 'things that stimulate' in the Machwerk – as with the 'großes Luftstuck' [large aerial work] – which is perhaps first entered when the paper strips 'children's hubbub', 'petrol smell' are hung up in it. These things that stimulate should not lead into temptation but inwards, into the work.

I provide the Machwerken with clear, generally understandable information, so that things are deprived of the mystery of art. – Information that is at the same time available as a guideline for 'further processing'.

As mentioned, I am the initiator, who wants to set free forces within the participants – but as a start, is already satisfied that people participate, that criticism arises.

Chris Reinecke