From an imaginary collector
In order to be fully experienced, every work of art needs the thought and thus the philosophy, which is nothing other than the thought that cannot be slowed down. — Theodore W. Adorno
In German or English, gender in the first person singular is not defined. Hence, I prefer to say "she" when I write about myself. She keeps her works in numbered boxes, inventoried in an electronic file. She doesn't hang things on the wall. Imagining a work of art is more like the work itself. In her memory, it becomes more important. That is the intention of this exhibition — to see beyond the image.
Piero Manzoni marked hard-boiled eggs with his thumbprint and offered them to the visitors, who were thus invited to devour the art, and thereby devour the artist. The head of the thumb is used by children to draw a face because its oval shape lends itself well to it. Manzoni's thumbprint on a small piece of paper became for her a self-portrait of the artist. She keeps it in an A3 box along with the works of Franz Mon, Kajetan Sosnowski, and Jiri Valoch. Valoch's work confirms her process of collecting. In red letters, the word "DRAWING" is written vertically on a white sheet of paper. The drawing is outside of the picture. It exists only by the force of the viewer's imagination. Thus, the vertical line of Franz Mon, made of letters of the alphabet, which continues beyond the sheet, is a kind of starved Tower of Babel, which rises simultaneously in two opposite directions. The work of Sosnowski, who perforates the white paper with a sewing machine and organizes the holes proportionally could resemble a snow-covered ground riddled by raindrops.
When she remembers these works hanging on the wall in the Gallery aKonzept, she finds herself temporarily in an ideal world of beauty. In fact, I see a work of art better when it is hidden from my view.