TROCKENE KUNST (Harburger Fassung)

Performance for at least 3 players with 3 electric guitars, a reader, an ending & a beginning 

With:
Benjamin Borgerding, Judith Heßler, Dr. Lutz Hoffmann, Christian Jendreiko, Tobias Levin, Christian Naujoks, Rebekka Seubert, Volker Zander

APT artist Christian Jendreiko (1969, Recklinghausen) is working on the design of 'Instrumentalaktionen' in the form of verbal notations and has been invited by museums, galleries and institutions all over the world to realise them. Jendreiko’s verbal notations are a fictional theory of action that produces its own reality, which take the form of performances. The verbal notations function as a tool to invent settings where possibilities of both thinking and acting manifest that could not have been pre-imagined or anticipated. This method can be read as an individual contribution to the methodological approaches of speculative realism. In 2003 a set of his compositions were included into the collection of the Musée d’Art Moderne, Centre Pompidou, Paris. For the last thirty years Jendreiko has been collaborating with Stefan Werni on the duo Werni & Jendreiko developing their shared concept of 'Spekulative Elektronik' ('Speculative Electronics'). Since 1998 he has been a member of the Düsseldorf-London-based artist group hobbypopMUSEUM. Jendreiko was visiting professor at the Akademie der Bildenden Künste, Nuremberg and is currently teaching at the Peter Behrens School of Arts in Düsseldorf.

Michael Hirsch (philosopher, Munich):
"Christian Jendreiko’s actions are models in a powerful sense. They are exercise systems, concrete utopias of a socially innovative, collective life praxis. Within their framework they are about starting exercises, here and now, in preparation for a different life. They are about speaking, thinking, acting and playing together as if we already lived in a liberated society; liberated, released from the fittings, from the constraints of roles and identities in bourgeois society. They are not the practices of one outstanding (artist) subject but of a group, a collective intelligence, a "general intellect," as Marx would call it. That which was always meant by avant-garde in its various forms through history, the transition of art into "life" and into the "everyday"—this is the aim or implication of such actions. A communism of the mind is practiced or rehearsed. The modality of its actions is pre-figurative; its social form is not that of the independent, self-sufficient subject (and its mirror image, the autonomous artwork), but rather that of a coming community of singular individuals, who collectively try out new forms of Being-with (Mitsein)." (from "What it is About – About Actions And Models of Art: The Right Life in the Wrong One" by Michael Hirsch, p. 152)

With kind support by Kulturbehörde Hamburg