tag:blogger.com,1999:blog-25097420957602439672023-11-15T23:37:41.553-08:00WE MEET IN :::Monumental interactive solo exhibition "WE MEET IN:::" 2000 by Jårg Geismar at the Prefecture Yamaguchi Museum of Art, Yamaguchi/Japan curated by Michitaka Kono and "Fish Dinner" at AIAV, Yamaguchi/Japan curated by Nori TsujiUnknownnoreply@blogger.comBlogger10125tag:blogger.com,1999:blog-2509742095760243967.post-4898719794672445402012-10-06T21:32:00.001-07:002012-10-06T21:32:03.537-07:00<a href="http://www.yma-p.jp/archive/geismar/">"WE MEET IN:::" - Website Prefecture Yamaguchi Museum of Art, Yamaguchi, Japan</a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2509742095760243967.post-45089315543061833462011-11-16T01:47:00.000-08:002011-12-01T13:05:37.386-08:00QR Code<img ="" alt="qrcode" height="200" src="http://qrcode.kaywa.com/img.php?s=8&d=WE%20MEET%20IN%20%3A%3A%3A%0D%0ACopyright%20J%C3%A5rg%20Geismar%202000" width="200" />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2509742095760243967.post-36817762473561237252011-11-15T02:50:00.000-08:002011-12-01T13:06:20.081-08:00Poster, invitations, sticker<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_yhy68ufhpOURDfXtbeUzbOk6LCkOxn0J4_dG9cduZzQG37i9g4-4FWCGfDOM5dvkEuAZVss3O09iQ5C2Zhk1T_CGBDvG4QHgtXnFIsJtMnyyRA6eptspGRJpKWgr_keQMvCv-tFzqkY/s1600/02flyer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_yhy68ufhpOURDfXtbeUzbOk6LCkOxn0J4_dG9cduZzQG37i9g4-4FWCGfDOM5dvkEuAZVss3O09iQ5C2Zhk1T_CGBDvG4QHgtXnFIsJtMnyyRA6eptspGRJpKWgr_keQMvCv-tFzqkY/s640/02flyer.jpg" width="480" /></a></div><br />
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Prefecture Yamaguchi Museum of Art, Yamaguchi </div>
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"Touch me, listen to me", color paper stripes, audio installation, outside the museum, Yamaguchi 2000<br />
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View into exhibition room no 1<br />
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"Next to each other and passing, Yamaguchi", electric cables, pluggs and hooks, 2000<br />
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"Tens", garbage can, cable, stone, New York 1988<br />
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"People's exchange", photo cut outs, gaze, glass, wood, Yamaguchi 2000<br />
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"drawings", paper, bag, strings, guard, Yamaguchi 2000<br />
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"Nature Morte" shoe, shoe laces, porcelan rose, push pins, New York 1994<br />
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"comme ci, comme ca", video, Melbourne 1998<br />
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"Falls" video, Zimbabwe 1999 </div>
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View into Room no 2<br />
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"Return to reality" straws, photos, push pins, 2000<br />
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"Joint Venture II" suitcase, paper, drawings, artificial flowers, letters, newspaper, small furniture, Haifa 1995<br />
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"united society" carbon paper , drawings, typing, Berlin 1992<br />
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"Woman,man, children and dogs" digitla prints, Stockholm 1997<br />
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"living II" wine glass, red ink, oxygen pump, Yamaguchi 2000<br />
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"apple talk" apple, video, London 1996<br />
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"living,loving and doing", photos,video,colors,clothe line, Lusaka/Zambia and Gävle/Sweden 1999<br />
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"We meet in Yamaguchi", 15 films done in Yamaguchi with the people of Yamaguchi, 2000<br />
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"Key drawings", donated keys, red strings, metall sheets with color, Yamaguchi 2000<br />
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AIAV, Akiyoshidai International Art Village</div>
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"Restaurant Mes Amis" Mosquito and Fish<br />
interactive food and drink installation for 50 invited guests with performes, sculptures and others.<br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2509742095760243967.post-57695580825705406982008-07-14T19:15:00.000-07:002014-08-26T01:11:16.806-07:00"WE MEET IN:::" catalogue (preview of catalogue)<object data="http://viewer.docstoc.com/" height="550" id="_ds_103044376" name="_ds_103044376" type="application/x-shockwave-flash" width="670"> <param name="FlashVars" value="doc_id=103044376&mem_id=144748&doc_type=pdf&fullscreen=0&showrelated=0&showotherdocs=0&showstats=0 "/><param name="movie" value="http://viewer.docstoc.com/" /><param name="allowScriptAccess" value="always" /><param name="allowFullScreen" value="true" /></object> <br />
<script type="text/javascript">var docstoc_docid="103044376";var docstoc_title="WE MEET IN::: 2000 Geismar";var docstoc_urltitle="WE MEET IN::: 2000 Geismar";</script><script src="http://i.docstoccdn.com/js/check-flash.js" type="text/javascript"></script><span style="font-size: xx-small;"><a href="http://www.docstoc.com/docs/103044376/WE%20MEET%20IN:::%202000%20Geismar"> WE MEET IN::: 2000 Geismar</a> - </span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2509742095760243967.post-25324041938804570632008-06-27T17:42:00.000-07:002014-08-26T01:11:54.551-07:00Review Fukuoka newspaper, Japanese<div class="separator" style="clear: both; text-align: center;">
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</a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2509742095760243967.post-24011900173357647982008-06-26T00:14:00.000-07:002011-11-15T01:55:17.583-08:00Review exhibition, Yamaguchi newspaper 2000<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZCLTfn9rFTGaLtY2zVlqSW_kqBJiaQkUK9tESTWGqQRAHYlpyTVUL8njq8AiGkXeOOceiNkNlWhH_oVlfsa9sgbAMFRriOmIm55-_1Y2VOCxkFvE1x1i-EFKePCjXVOTUFiC_R5w-xA/s1600/japan+review+2000+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZCLTfn9rFTGaLtY2zVlqSW_kqBJiaQkUK9tESTWGqQRAHYlpyTVUL8njq8AiGkXeOOceiNkNlWhH_oVlfsa9sgbAMFRriOmIm55-_1Y2VOCxkFvE1x1i-EFKePCjXVOTUFiC_R5w-xA/s320/japan+review+2000+copy.jpg" width="320" /></a></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2509742095760243967.post-67024125148425010442008-06-26T00:12:00.001-07:002014-08-26T01:13:08.533-07:00Catalogue text by David Neuman, Stockholm/SwedenRedefining perception with a line<br />
<br />
When the ordinary becomes the ethereal. When our perceptions of the<br />
acceptable are thrown off course. When beauty surpasses function, only<br />
to become functional again. To be reborn, in imagination and reality.<br />
<br />
Jårg Geismars artwork brings to mind all of the above. By administering<br />
elements from the everyday, whether the day occurs in the East, West,<br />
North or South, and gives it new meaning in such a subtle way, as to<br />
make us, the viewer/participant, rethink not only the vision before us<br />
but our understanding of the order and processes of the small things we<br />
have taken for granted.<br />
<br />
Whether a line becomes a string, to divide space and therefore time. To<br />
suspend, to pull, to stress, this very same line redefines itself, and<br />
us, over and over in each artwork. It can appear as the negative versus<br />
the positive, first as cutouts, remaking itself as a solid in line<br />
drawings. The connection between the elements within each artwork, are<br />
revalidated in the next piece, and the next, and so on.<br />
<br />
By reinventing the commonplace, but nevertheless holding on to a sense<br />
of its original purpose or identity, a historical element is not just<br />
introduced but is a constant in the work. Looking at the photos, the<br />
memory of the ”Spirit 104” - an installation of 10 000 golden bells from<br />
Thailand, suspended by yellow ribbon and steel wire in the inner<br />
open-air garden of Hallwylska Palace — created for the Arkipelag project<br />
for Stockholm Culture Capital of Europe, 1998. Then the memory of the<br />
small delicate chimes enters into the scene. The motion, the glistening,<br />
the strangeness, the beauty, all come together before the faint but<br />
distinct feeling of another sensation arises. The sound of barking, at a<br />
distance re-enters the picture.<br />
<br />
Joy compounded with a sense of imbalance is one way to describe the<br />
emotional platitudes that were experienced during the observation of<br />
that very special installation. Seeing other artworks by Jårg Geismar,<br />
some in actuality, others only in reproduction, again brings to mind the<br />
special experiences of the ”Spirit 104” project. By taking a new look at<br />
what we can really see around us, and bringing that into a different<br />
perspective is what gives Geismars art a power that is truly poetic in<br />
nature. By not thinking about what it is, but what it can be, liberates<br />
us, the viewer, to reach within our own emotional and visual history to<br />
bring these artworks to a plane necessary when viewing art.<br />
<br />
What is evident throughout an oeuvre of an artist, is the level of<br />
honesty portrayed in his artwork. The non questioning of the artists<br />
intentions, towards himself, towards the art, and finally towards the<br />
public, can be seen as a declaration of his personal integrity. To<br />
follow this inner rhythm allows for an artistic output that can be felt<br />
by the viewer, without doubt. Jårg Geismar continually lives up to his<br />
”oath” as an artist. A teller of truth to himself via the medium of<br />
visual expression, he gives his audience a name, face, sight, or sound<br />
to their own insights of the very same truths. To uphold this as an<br />
artist, is not an easy endeavor. To sway from the path of individually<br />
of identity, to seek acceptance by allowing the outside, rather than the<br />
inside steer the artistic vision is a simpler road. But the evidence is<br />
always present. The creative process, resulting in a creation can be the<br />
only proof. It is here, it can be said that Jårg Geismar, artist, and<br />
his artwork, hold onto the notion of integrity and honesty that is of<br />
the highest level. This is evident in his dialogue with his<br />
identification as an artist, the process of making art, and the artworks<br />
themselves.<br />
<br />
<br />
<br />
David Neuman<br />
Stockholm, Sweden 2000<br />
<br />
<br />
David Neuman is the founding director of Magasin 3 Stockholm Konsthall.Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2509742095760243967.post-5878403100472235182008-06-25T04:51:00.000-07:002014-08-26T01:14:09.611-07:00Film of exhibition<a href="http://myspacetv.com/index.cfm?fuseaction=vids.individual&videoid=36404175">Check out this video: © Jårg Geismar WE MEET IN ::: 2000 at Pref . Yamaguchi Museum of</a><br />
<br />
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<a href="http://myspacetv.com/index.cfm?fuseaction=vids.addToProfileConfirm&videoid=36404175&title=Check%20out%20this%20video:%20%C2%A9%20J%C3%A5rg%20Geismar%20%20WE%20MEET%20IN%20:::%202000%20at%20Pref%20.%20Yamaguchi%20Museum%20of">Add to My Profile</a> | <a href="http://myspacetv.com/index.cfm?fuseaction=vids.home">More Videos</a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2509742095760243967.post-30088823100577954252008-06-24T23:54:00.000-07:002014-08-26T01:15:55.562-07:00Interview and text by Otto Neumaier, Salzburg/AustriaQuerweltein: Crossing in and around the World<br />
A conversation with Jårg Geismar<br />
<br />
The Swedish-German artist Jårg Geismar (*1958) not only constantly travels<br />
in and around the world, for many years he has also emerged world-wide with<br />
large exhibition projects. He works mostly "next to public”, meaning at a<br />
distance from the "art world”, but much closer to the people. For Geismar, art is<br />
essentially about communication. As early as 1985 he founded the project ATW<br />
("Around the World”) in order to promote an exchange between people of<br />
different nationalities. Otto Neumaier spoke with the artist about his approach and<br />
some of his newest projects.<br />
<br />
For your project "Living, Loving and Doing” in 1999 you initiated an<br />
exchange between Gävle, a town in northern Sweden, and Lusaka, the capitol of<br />
Zambia. Neither of these cities necessarily lies at the center of the art world.<br />
What prompted you to choose these two cities for an art project?<br />
<br />
The occasion was an invitation from the curator Niclas Östlind to execute a<br />
project at the art center in Gävle. When I arrived there were almost three<br />
meters of snow on the ground. You could hardly move. There was no milk for a<br />
few days, the children couldn’t go to school and so on. On the train to Gävle I<br />
thought about this situation and came up with the idea of bringing the snow<br />
to an African city which seems just as meaningless to us Europeans as maybe<br />
any given small town in Sweden. The snow was to go to Lusaka and the sun, the<br />
warmth of the people there, was to go to Gävle. Then we carried out that plan<br />
and it is now being continued because it stimulated a cultural exchange<br />
between Sweden and Zambia. I’m not very interested in doing an exhibition here<br />
and an exhibition there, but in an exchange between artists and other people as<br />
well as in the project creating a life of its own. So I’m interested in the<br />
exchange being further developed and not just Europeans flying to Africa in<br />
the scope of cultural tourism. It really was about "Living, Loving and Doing”<br />
about the lives of the people, the love and about really making it all. <br />
<br />
According to this model, you see the artists above all as an initiator, as<br />
someone who stimulates a process as well as an agent between people. But<br />
doesn’t a project take on a life of its own because so many other people take part<br />
in it – a dynamic that can not necessarily be fully controlled by the artist<br />
or curator? Such a project can run into a dead-end but it could also turn<br />
into something meaningful that neither the artist nor the curator thought of<br />
before.<br />
<br />
It’s true that we didn’t at first think that it would all continue, but that<br />
is the case now. In the meantime Swedish artists were in Samba again and<br />
Zambians in Sweden. Soon the next ones are going to go. This project developed<br />
into one that goes on and on. Another such project is my contribution to the<br />
centennial celebration of the Mathildenhöhe in Darmstadt, where in 1999 I<br />
installed three Boule courses. They are now being used by the local Boule players<br />
and even for the championship games. <br />
<br />
The after-life of your projects is an interesting aspect of how they develop<br />
lives of their own. Another is that you include many other people right from<br />
the beginning, not just by "Living, Loving and Doing” but also in "Future in<br />
Mind” (Bangkok 1999) or with the project "We Meet In : : :” (Yamaguchi<br />
2000). The success of such a project mostly depends on how much people who are<br />
normally not very interested in art are willing to accept it – how willing they<br />
2<br />
<br />
are to do something they are not used to doing. Are people fascinated by the<br />
projects or do they just remain indifferent?<br />
<br />
It varies. Sometimes there is total rejection. That is completely normal. I<br />
usually leave the communication very open. Recently in Japan, with "WE MEET<br />
IN : : :” I also spoke with many people. First I met with them in order to get<br />
acquainted and see if it works when I film or photograph them. This resulted<br />
in 15 films on certain careers in Japanese society. Everyone filmed came to<br />
the museum later on to watch their films - so they were very interested. This<br />
is also true of the elderly Japanese, which is usually very difficult.<br />
Japanese society is very clearly structured. There is much respect for age and<br />
also for tradition. It is very fascinating when very old Japanese people who are<br />
completely rooted in their tradition make advances toward something like<br />
this.<br />
<br />
In your projects you do manage to hold the strings in your hands in that you<br />
create situations which bring people to communicate with each other. One<br />
example is the "Fish Dinners” you have put on as a part of different exhibitions<br />
for years. This includes Yamaguchi, where visitors could meet for "Table<br />
Talk” or had to turn to the security personnel for information,which made the<br />
visitors aware of your "arrangement”. So you make sure that those people – the<br />
visitors and the security personnel – are practically forced to start up a<br />
conversation.<br />
<br />
When I work on a project I ask myself: Why? Why must something be visualized<br />
or an exhibition take place? The reason is very important to me. And it<br />
usually grows from my dialogue with people I include in the work. Art and<br />
communication means daily learning for me. It’s about always going out again anew<br />
and getting to know foreign cultures, meeting someone I’d never known before or<br />
have known for a long time but with whom an exchange is constantly<br />
developing further. In "WE MEET IN : : : " it’s about meeting people one has never<br />
known before and who work in an environment one is not familiar with. One<br />
approaches these people and says, ”I’d like to meet you”. In this sense meetings<br />
have been arranged again and again, and I have met quite a few people in three<br />
months. There are also different types of meetings: One can make a date on<br />
the telephone, one can go to someone and meet him, and so on. The exhibition<br />
mirrors some of these possibilities whether that be shown in the film or in<br />
"Table Talk” where people meet and draw. I consider this open approach to<br />
certain situations very important for our society, especially for our<br />
multi-cultural co-existence. <br />
<br />
Many people today see rather a problem in different cultures living<br />
together. Even though for a time it looked like there would be better co-existence in<br />
Europe and more exchange possible – not just being next to each other or<br />
even against each other. Recently that has changed again, unfortunately.<br />
<br />
It’s just not that easy to live together and deal with our difference. In<br />
many of my works it’s about living next to each other and being different.<br />
These works are on the one hand very "to the point”. On the other hand, I also<br />
try to convey a certain smile in this. People usually laugh when they see<br />
something like that. My installation "Low Budget” (1997) in the Kunsthalle Kiel<br />
consisted of 30.000 coins that had laughing or crying faces painted on them.<br />
When people came there and saw this giant mosaic they stood in front of it and<br />
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<br />
were astounded by so many coins, and they asked themselves who painted them<br />
all. And after a certain amount of time everyone had to laugh about it. It’s<br />
basically always about this laughing and crying. One person is doing well; the<br />
other is doing badly. We see it all the time.<br />
<br />
The subject of this year’s Architecture Biennial in Venice, which you<br />
participated in, was "Less Aesthetics, More Ethics.” I find morals and ethics very<br />
important but isn’t there a false antithesis within this title?<br />
<br />
I don’t want to say if this title is good or bad. I’d like to answer<br />
differently and in reference to a continuing project I began in 1998 in Stockholm by<br />
taking photographs and filming foreigners who live there. This project<br />
revolves around the question of what a foreigner actually is. You come from<br />
somewhere and then live in some city where you were not born. Does someone who was<br />
born in this city and has lived there for 60 years have any more rights than<br />
you do? Maybe you also want to live there forever, but you practice a<br />
different religion, look different and might even be depressed at the beginning<br />
because you are not comfortable with the situation. My view of such problems also<br />
has to do with how I grew up between Germany and Sweden. I was born in<br />
Gotland, spoke Swedish before I learned German although I always had a German<br />
passport. While I then grew up in Germany I always had the feeling that something<br />
was missing. In Germany I always had the feeling that everything was so<br />
perfect and exact. And I always enjoyed when it was different. Everything that is<br />
perfect does not allow, for instance, someone who is new to the situation to<br />
keep up with what is going on because there is no way he can be that perfect<br />
anyway. That’s why I’m am not so interested in perfection.<br />
<br />
Does that mean you felt more like a foreigner in Germany than being in<br />
Sweden with a German passport?<br />
<br />
At first I never thought about what "foreign” and "domestic” meant. It’s<br />
society that brings such words into play. The expression "foreigner” always has<br />
something to do with being outside. One draws boundaries where we are inside<br />
and the others are outside. We celebrate it every day. We developed things in<br />
this direction and now have to come to terms with the result. But that is<br />
not easy. Perhaps one possibility would be laughing more about it. I think it’s<br />
good when someone can laugh about himself or herself. Perhaps there would be<br />
fewer problems if we were to laugh more about ourselves. But when I meet<br />
someone I don’t immediately think about this person being a foreigner, but I<br />
find this new person alone interesting, and I can learn a lot from him.<br />
<br />
I’d like to return to your contribution to this year’s Architecture<br />
Biennial. The title was "Future by Feet”. The expression "future” appears in a few of<br />
your works, and the executing organs hand and foot also play a certain role<br />
such as in "Doing by Hands, Looking by Feet” your new work for the Werkstadt<br />
Graz. The attitude of going "on foot into the future” or "discovering things<br />
on foot” was expressed in your Biennial project in that you walked through<br />
Venice. <br />
<br />
That really was part of my project and during that time I have been sitting and drawing <br />
at various places. I had approximately 150 photos from all over the world which I<br />
had to work on with the computer so that only the outlines of the motifs<br />
remained. I drew over these images there. I ate in squares filled with tourists<br />
4<br />
<br />
like San Marco or Giardini as well as in residential areas. If someone came up<br />
and wondered why a person would sit there and draw, then he, too, could sit<br />
down and draw over one of the images if he wanted. <br />
<br />
At first sight the project was somewhat paradox because you went through<br />
Venice on foot, which is a process of slowing down, while, on the other hand, at<br />
the beginning of the project in Venice you set up the website "geismar.net”<br />
ad used the fastest information medium. Are you a balancing act between the<br />
"discovery of slowness” and "stepping on the gas”?<br />
<br />
This also has to do with fun. Whoever looks up the site first reads<br />
"www.geismar.net”. The expression "net” stands for networking. I chose this domain<br />
name, above all, because it stands for my own networking. I have never used my<br />
name before. My other web sites are called "next to public” or "around the<br />
world”. In this case it’s essentially about my point of view. Basically one<br />
sees short films and photographs I’ve made on my trips around the world – photos<br />
of people, cities, architecture, nature, animals, in the daytime, at night.<br />
I send these images to the person looking at it. This person sees something<br />
different every time. She may visit a site and is in Yamaguchi. She leaves the<br />
site, goes back again and is in New York. Next time she is in Venice or<br />
Stockholm again and so on. The places are not only different, but also the times.<br />
One might be in Düsseldorf in 1984, then in Stockholm in 2000 or in London<br />
of 1996 or Istanbul. What I show there does not necessarily have to be seen as<br />
art. Someone who has nothing to do with art can just look at it and might<br />
then see a film about New York for a few seconds. <br />
<br />
What you just said is also true in a sense for your exhibitions in general.<br />
Whoever visits one of your exhibitions sees works made in different years<br />
that then become something like parts of a more complex meta-work. Whether in<br />
1998 in Göteborg, 1999 in Bregenz or 2000 in Yamaguchi – we are confronted with<br />
works from different years that not only enter into a conversation with each<br />
other, but also create a unique feeling for time. What is really shown is<br />
Jårg Geismar and what he is interested in, and it is shown that it’s not about<br />
single works, but about the more complex context of an entire life.<br />
<br />
When a film shows some city, then the place where the camera is pointed is<br />
also "ME” in a sense. This is the same as when I draw a line on a piece of<br />
paper. This common factor is also a reason why I have recently shown more<br />
drawings. In my drawings I was more restrained because drawings are especially<br />
beloved merchandise in the art market. I didn’t want to be absorbed by this<br />
mechanism. Still, I did further develop my drawings, of course, and now I<br />
sometimes show drawings. But it is still a tricky situation. I know that my drawings<br />
can be destroyed by the odd mechanisms of the art market, which means I’d no<br />
longer have any desire to draw.<br />
<br />
Your drawings do have peculiarities. You like using carbon paper, which is<br />
not exactly the usual medium for drawings. Or you may take computer-generated<br />
images and draw over them. Another aspect is that certain approaches to<br />
drawing are employed for many years. You have been working on the carbon series<br />
for ten years or more. Any given sheet could be from 1990, 1995 or 2000. This<br />
approach certainly is a differentiation from others who draw.<br />
<br />
For me, it has a lot to do with breathing – and also naturally with fun. I<br />
5<br />
<br />
am fascinated when the lines move. I’m also fascinated with the colour of the<br />
carbon paper – using a red or a yellow paper, for instance. Every colour sets<br />
something I’m looking for free from within me. This is also related to where I<br />
am at that moment and whom I am with. <br />
<br />
What you say and do gives one the impression that your work is always<br />
concerned with human beings. Your art is essentially motivated by this and revolves<br />
around it – how you involve people and so on. <br />
<br />
In my eyes one cannot exist without the other. Every project lives from the<br />
people involved in it. In my exhibition "To Whom It May Concern”, which I<br />
realized in 1995 at Gabriele Rivet in Cologne, it was about this question: "Who<br />
am I making this for?” When I make an exhibition somewhere each space does<br />
belong to someone. In November 2000 I had my fourth exhibition in this Cologne<br />
gallery and this exhibition also naturally had something to do with the<br />
person directing the gallery. My museum exhibitions have just as much to do with<br />
the people who organize and curate them. When Niclas Östlind asked me three<br />
years ago if I wanted to come to Gävle and put on an exhibition although this<br />
city lies at the end of the world I told him, "Of course. If you’re doing it,<br />
I’ll come.” Then the first time I arrived at this small Swedish town I had<br />
the idea for the exchange between Gävle and Zambia. I explained to Niclas that<br />
I would like to do this and added, "but you must come with me”. This "you are<br />
coming with me” in which the curator sees what I am doing and that I’m not<br />
doing it for me alone came from this situation and from what I had seen over<br />
the years. It was also like this in Japan. During "We Meet In : : :” I’m sure<br />
I met, photographed and filmed over 100 people in those months. One condition<br />
was also that Michitakass Kono, the curator, always accompanied me. I can not<br />
work with someone if there is no dialogue with him. Otherwise anyone could<br />
install my work. As nice as it is to exhibit your work it’s not about<br />
exhibiting alone, but about the exchange that takes place between people.<br />
<br />
Internet Addresses:<br />
<br />
www.geismar.net<br />
<br />
www.artnode.se/geismar/ (Interview with Daniel Birnbaum)<br />
<br />
www.gavle.se/kostcentrum/arkiv/arkiv.htm ("Living, Loving and Doing”, Gävle<br />
and Lusaka 1999)<br />
<br />
www.handbyfeet.mur.at ("Doing by Hands, Looking for Feet”, Graz 2000) <br />
<br />
<br />
<br />
<br />
<br />
Interview Otto Neumaier - Jårg Geismar: "frame" p. 94-99, Vienna, Austria No 5 January/February 2001<br />
Translation from German: Rosanne AltstattUnknownnoreply@blogger.com