The World as Will and Representation

The World as Will and Representation

The World as Will and Representation

 

The World as Will and Representation.

Margarethe Drexel and Maximilian Bauer

2015, salami, import regulations, video, HD, color, sound, 60 min,

two plastic crates;

 

Amigos,


I apologize to start this message with a tricky question, but please,

let me ask you something:

what do you do when you have absolute power?

Have you ever feel this, even for a second?

I mean, when you blink and then you realize that

you’re in the right moment and the perfect position to

do whatever you want, especially to someone else.

Do you know this? Do you ever experience this pervasive

sensation to have complete domain over the other?

Let’s say, a master before a crowd of eager pupils expecting

to be illuminated, or a mother confronting the remorseful son 

right after being caught in major fault. Have you ever

been the master or the mom?

 

What do you do when you are in the situation

to give a lesson, to impose a view, to conquer a land, to

win a match? What can you do with other’s disposition

to submit to your power?

 

I ask you about it since I feel confused

when I’m the one ruling a situation.

 

Don’t you ever think about the absolute dependent,

the weakest, the one who accept your unlimited power

without a shadow of a doubt?

Don’t you feel strange before the one who

surrenders without struggle?

Don’t you find yourself in a completely uncomfortable

situation once your invincibility is revealed?

 

And what about the one who ignores that you are

unable to even take care of yourself but, nevertheless,

trust you to the point to put his or her life in your hands

as if it was as simple as a children’s board game?

 

Well, I think about it.

 

And then, the thought about my power dissolves

that power in hesitation. So, the other, the one who

abandoned from the beginning

his or her will for the sake of mine’s, reveals powerful

and perfect, surrounded by the beautiful aura of his or

her absolute trust, of his or her infinite fragility,

impossible to be broken by any other’s power,

by no action of whatever force.

 

This situation reveals a space in between,

a moment where power collapse and both

master and pupil resign to every possible position,

becoming a very deep void or an unnamed lacking.

I call this a relationship. Or a miracle.

And both are impossible to be represented.

 

Víctor Albarracín Llanos, 2015

 

 

 

Chronic Sense - The Kid's Little Helper!

Please!

Margarethe Drexel and Maximilian Bauer

2014, C-Print, 164 x 114 cm framed in oak, black concrete panel

with glass, 60 x 40 cm, Video, HD, color, sound, 4 min 13, iron construction,

95 x 40 x 17 cm, walker, 40 x 80 x 90 cm, iron, oak wheels;

 

The childrens walker should teach the child to walk. Walk into a world of

black concrete floor, heated, not cool, yet hard. The creatures of this

world: the Rhinocerus, fast, fraydig and cunning they should be.

 

To survive is a challenge. The end is coming anyway.

The path leads into the cathedral for a game,

which is not perceived. So it remains a game,

the Cross of Christ immanent part,

trapped in a construct of iron and geometry.

The rules are constructed, to break them seems

to be a tagert.

 

But the original life, the wild life, which would like to

let off steam - is missing.

One could also say, it lacks health ... CHRONIC SENSE!

 

 

Polished, seen in a mirror.

Margarethe Drexel and Maximilian Bauer

2013, mirror, 19 m x 32 cm, concrete slab, 215 x 65 cm,

4blue wheels, wood construction 225 x 75 x 55 cm,

blue straps, mirror 65 x 55 cm, rope and hook

 

 

 

Zur Morgendämmerung.

Margarethe Drexel and Maximilian Bauer

2013, C-Print, 30 x 20 cm, framed in walnut © Max und Mozart +

Margarethe und Marie - Antoinette

 

"This realization came too late."

 

Marie Antoinette and Mozart met as children at the court in Vienna.

If you will, it was love at first sight. Exuberant lifestyles.

Les autres chiennes. Decapitated and poisoned.

Conspiratorial gatherings on the Rhine.

An aesthetic staging of the garden: a mirror,

a rolling concrete slab and a bulky vehicle.

 

The production of the garden scenery is used

to create a venue for the actual action that is

to take place at dawn: The goal is to conquer the river.

The world in hands, the vehicle at the feet,

the load of the concrete intermediate.

The journey is arduous, the history (not) on

the side of the actors.

 

The romantic image of the action is an illusion,

yet both are children of their time, no matter what!