voices

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Well-suited matters
Two sofas, flowered pattern on dark-red sofa cover, two armchairs, two cushions, cherry red, saffron yellow, similar colours in the flowered pattern, table lamp with a yellow textile shade, brass gold base, wooden pedestal, sofa suite added along the windowed wall and side wall, coarsely woven carpet with a diamond-patterned appliqué, floral pattern, table lamp, long-leaved indoor plants, oriental touch, television set on a narrow commode table, position for a rounded lamp, white leather surface, stylish, discreet.
View onto apartment block B1, white, translucent curtains, moveable occlusion, red, easy-to-manage geraniums, balcony space for two persons, short route to the kitchen, evening meal at the sofa table possible, watching television, affordable rent, brown wooden window frames, superior living standard, easily adjustable temperature, light apartment, with elevator.
Cushion covers removable from the sofa suite, wooden sofa frame robust, side table with detachable foot, curtains with excess length, framed art print, Renoir’s still life Roses in a Vase, stylish, timeless, antique pink, round cut tablecloth, atmospheric focus, colour counterpart to art print.
Slant-cut tablecloth seam, unevenly laid, uncalculated sloping position, imprecision in the overall picture, no replay possible.
Furniture reduced, television disposed of, art print given away, carpets sold, curtains and tablecloth handed on, rounded lamp in designer shop, rented apartment painted over several times, tenants, photo album given away, purchase of photographic legacies, anonymous.   Birgit Szepanski

I hear voices
To fill a room, to empty it, to inhabit a place and then vacate it like this living room from the last century. Somehow there are voices in this room. Voices that implore us to arrange ourselves in the traces of the past; in the patterns of its carpets, tablecloths and three-piece suites, in the reflections of the pictures on the walls, and in the colour television of course. It defies explanation from today’s point of view how it was possible for us to live in the social housing of the ‘70s while outside the paths of motorways were being cut and the neighbouring apartment blocks were being raised. And all this happened simultaneously. And from our balcony we could see them; the diggers on the flyover towards the city centre and the abandoned underground train stations. And our son went underground himself later because he couldn’t stand it all or went to Frankfurt am Main and studied Critical Theory, Adorno and Habermas, to work off this era and the social architecture of our towns and their outskirts. And we can read all that into this picture. And we imagine how it would feel to live in this flat and read “The Dialectic of Enlightenment”, and “The Structural Transformation of the Public Sphere” and Adorno’s “Aesthetic Theory” one after the other. If we would then stray away from this apartment, from this Right Life Lived Wrongly or if we too would begin to dream of “the social sculpture” like that “shaman” at the Düsseldorf Art Academy who at some point had had enough and travelled to America, and locked himself away in a room for three days with a stack of Wall Street journals and a live coyote in 1974, a room similar to this one, filled emptied, transformed as if it were a temporary gallery. I hear voices. Rainer Totzke

 
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