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Donnerstag, 5. Januar 2017

Visiting the exhibition of Thomas Bayrle

Yesterday I decided to carpe diem and get my annual ticket for my favourite gallery, the Lenbachhaus. A one-year-membership is only twice the price of a single ticket so it's really a no-brainer for this wonky philistine.



I was a bit disappointed to find out that they had banned my most-loved series of cloud sketches to storage to display something new so I headed across the road to the Kunstbau, which translates literally into "art building". In my mind the term "art warren" would be totally suitable as well when you think that it is actually burrowed into the ground. It was opened in 1994 and very cleverly occupies an unused space on top of the underground platform of the Königsplatz station.
It's the same length and shape and through windows at one end you can see the escalators transporting passengers up and down and on the other end the platform.



It's a very versatile exhibition space and I have seen several very different exhibitions there but the current ( until the 5th of March 2017) is just a perfect match.

I didn't know anything about Tomas Bayrle and had no expectations whatsoever but was totally won over by him.
My first impression was one of the museum caretakers grabbing a pair of ear protector thingies while walking onto the floor.

So I walked through the exhibits not getting it at all and  sat down on one of the benches in front of a huge wall relief, forcing myself to overcome my inhibitions and get out my sketchbook in public. It helped that it was very quiet on a weekday morning. While I concentrated on the object in front of me, behind me one of the exhibit came to  life with a spluttering cough and human  mumbling... Imagine yours truly truly shocked!

It turns out that Bayrle, combined the cut open motors with speakers and sound collages. "... First displayed at the documenta 13 in 2012, the complete set of these pieces is on view in the exhibition at the Lenbachhaus. As Bayrle sees it, they epitomize the aesthetic of machinery, but they also visualize the rhythm ad condition of human life in the mass society. The sound collages accompanying the engines are largely excerpts from pertinent passages in ecclesiastical liturgy..." (official leaflet from the gallery).


Ford Galaxy wipers is called "conductor"


The installations are on a timer and run for 30 minutes, not all of them at once. After I was done sketching I walked across the room again, this time paying more attention and reading the descriptions of the exhibits in the leaflet. 

I find it very pertinent that the French Citroen motor is accompanied by Edith Piaf and the Italian  Vespa motor by Maria Callas.



  
Please go and visit this truly amazing exhibition at once and let yourself be surprised by this ingenious artist.

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