01, Gasse in Prag, fw,4

01, Gasse in Prag, fw,4,
01, Gasse in Prag, fw,4,

Abkürzungsphantasien. Farbiges Warten. Band 4. ISBN 978-3-9501252-5-2, EAN 9783950125252

Fantasy Abbreviated. Colourful Waiting. Volume 4,

Fantasie abbreviate, attesa colorata, volume 4,

 

01, Gasse in Prag, Öl auf Leinwand, 70 x 100 cm, 2011. Dass sich die Holzleisten des Keilrahmens über den Winter gebogen hatten, nahm ich zum Anlass, das Bild auf  anderen Hölzern neu aufzuspannen und auch gleich um einige Nuancen zu verändern, um das ehemals Perfekte aufzulösen, was das Bild fast wie einen Druck aussehen hatte lassen. Der Aufbau von buckeligen Schornsteinen auf die Dächer näherte das Bild meiner aktuellen Mal-Wirklichkeit an. Während die neuen Schichten trockneten, türmte ich mir einen ganzen Berg von Nebenarbeiten auf, die alle wiederum ihre Beachtung einforderten. Nebensächliches gibt es nicht.

01, Street in Prague, oil on canvas, 70 x 100 cm, 2011. As the wooden strip of the fame had warped during the winter, I took the opportunity not only to stretch the canvas on a new wooden frame but also to make some slight changes to the picture. It was too perfect which made it nearly look like a print. After I had added some not too straight chimneys to the roofs of the houses, the picture came closer to my current reality of painting. While the new layers were drying, I started heaps of work which demanded my full attention – nothing is of minor importance.

01, Stradina a Praga. Olio su tela.  I listelli di legno sotto la tela si erano curvati durante l’inverno, decisi allora di fissarla su una cornice nuova e, già che c’ero, di trasformare il quadro, levandogli quella perfezione da stampa. L’aggiunta di camini gobbi sui tetti avvicinava il quadro alla mia realtà attuale di pittrice. Mentre le varie mani asciugavano, mi sobbarcai di una montagna di lavori secondari  che a loro volta però richiedevano tutti la mia attenzione. Lavori secondari non esistono.

02, Gespräch bei Schneefall, fw,4,

02, Gespräch bei Scheefall, fw,4
02, Gespräch bei Scheefall, fw,4

02, Gespräch bei Schneefall, Öl auf Leinwand, 100 x 100 cm, 2010. (Gespräch am Bahnhofsgürtel.) Ein Mann, der gerade seine Fensterbank mit einem kurzen Besen vom Schnee befreite, sprach mich an, weil ich zum selben Zeitpunkt die Stelle , wo der erste Teil schon gelandet war, auf dem Weg zu meiner Arbeit kreuzte. Dass er hier sein Büro habe und jeden Tag um diese Zeit lüften müsse, erzählte er, weil er das Parfum seiner Kollegin nicht aushalte. Sie hätten so früh am Morgen schon ihren ersten Streit hinter sich und seine Kontrahentin wäre inzwischen in die Kantine geflüchtet.

02, Conversation during Snowfall, ( Conversation on Bahnhofsgürtel), oil on canvas, 100 x 100 cm, 2010. On my way to work I passed an open window where a man was clearing the window sill of snow with a short whisk. The man spoke to me: He was in his office and every day, at this point of time, he had to air the room because he could not stand his colleague’s perfume. At this early time of the day they had already had their first argument and his opponent had fled to the canteen.

02, Dialogo sotto la neve, olio su tela, 100 x 100 cm. Un uomo che con una scopetta stava togliendo la neve dal suo davanzale, mi rivolse la parola perchè mi trovavo appunto nel posto sul marciapiede dove era andata a finire la prima mandata di neve. Aveva lì il suo ufficio e doveva arieggiarlo ogni giorno alla stessa ora, mi raccontò, perchè non sopportava il profumo della collega. Avevano già avuto la prima litigata del giorno e la sua avversaria era scappata alla mensa.

03, Rotes Gebilde, Glücksspiel, fw,4,

03, Rotes Gebilde, Glücksspiel, fw,4,
03, Rotes Gebilde, Glücksspiel, fw,4,

03,Glücksspiel, oder Formation auf Rot, Öl auf Leinwand, 60 x80 cm. Ein Freund, der sich auch selbst als spielsüchtig bezeichnete, bat mich, ihn ins Casino zu begleiten, seine Geldbörse mit einem gewissen Restbetrag zu verwahren, ihm diese auf keinen Fall im Casino wieder auszuhändigen, egal wie sehr er das später von mir verlangen würde. Als Gage für den Auftrag erhielt ich seine und meine Eintrittsjettons. Ich war zum ersten Mal in einem Casino, schaute den Leuten zu, und mein Auftraggeber kam zwischendurch von einem seiner Spieltische, mir zu berichten, wie viel er schon gewonnen hätte, und wenig später das Gegenteil davon. Es war bald abzusehen, dass er in wenigen Minuten wieder auf Null sein würde, und ich  setzte schnell alle Eintrittsjetons auf 13 und ließ mir meinen Gewinn auszahlen, von dem ich am nächsten Tag meinen Flug nach Rhodos buchte.

03, Formation in Red, oil on canvas, 60 x 80 cm, 2009. A friend who called himself a gambling addict asked me to accompany him to the casino and to keep his wallet containing a certain sum of money. On no account I should hand it out to him, no matter how urgently he would ask for it. As a reward for the job I got the chips which we received at the entrance. It was my first visit to the casino, I was watching the people and from time to time, my client returned from the gambling table to inform me about his winnings and soon about the opposite. It was easy to predict that in a couple of minutes he would start from scratch. So I quickly put all my chips on the 13 and had my winnings paid out to me. The following day, I booked a flight to Rhodes.

03, Formazione rossa. Gioco d’azzardo. Olio su tela. Un amico, dipendente del gioco d’azzardo, mi chiese di accompagnarlo al casinò, di tenere il suo portafogli contenente ancora qualche biglietto e di non ridarglielo prima che fossimo usciti dal casinò, anche se dovesse insistere. In compenso avrei avuto tutti i gettoni che ci davano all’entrata, i miei e i suoi. Fu la mia prima visita al casinò, guardavo la gente, e il mio amico di tanto in tanto mi raggiungeva per raccontarmi prima delle sue vincite e poi delle sue perdite. Non ci volle molto a capire che presto sarebbe rimasto al verde. Quindi buttai tutti i miei gettoni sul 13, ritirai la mia vincita e il giorno dopo mi ci pagai un biglietto per Rhodi.

04, Fassade in Rhodos, fw,4,

04, Fassade in Rhodos, fw,4,
04, Fassade in Rhodos, fw,4,

04, Fassade in Rhodos. Öl auf Leinwand, 50 x 50 cm, 2009. Den Einforderungen eines Anteils, um weiterspielen zu können, hatte ich standgehalten, auch seinem Appell an meine Revanche für seine großzügige Einladung, nicht aber den danach folgenden Manövern, seine Geldbörse von mir wiederzubekommen. Ich hatte sie ihm schließlich hingeworfen und war nachhause gelaufen. Weil er auch mit einem Anruf am darauf folgenden Tag behauptete, ich hätte eigentlich versagt, und er müsse jetzt Geld von mir zurückbekommen, dachte ich sehr lange darüber nach. Dass mein Quartier in Rhodos dann so war, führte ich darauf zurück, diese Reise womöglich gar nicht wirklich verdient zu haben.

04, Façade in the Square, Rhodes, oil on canvas, 50 x 50 cm, 2009. I had withstood both his claim of a share of the money, which would have enabled him to continue gambling, and his calling on me to return his generous invitation to the casino, but not the manoeuvres he then used to get his wallet. I had finally thrown it to him and run home. The following day he had called and claimed that I had failed and owed him some money which made me think about it for quite some time. And when my accommodation in Rhodes was as it was, I put it down to the fact that I might not really have deserved this journey. Before booking an accommodation I always ask if there is a window. I also did so with the room in Rhodes, but the window looked out onto the shaft for the toilet ventilation. This experience has taught me always to ask what can be seen from the window when booking a room.

 

04, Facciata a Rhodi. Olio su tela. 50 x 50 cm. Riuscii a rifiutargli una parte della mia vincita per finanziare il suo gioco, ignorai anche il suo appello di ricambiare il generoso invito, ma le sue manovre per riavere da me il suo portafogli  erano troppo; glielo gettai e me ne andai a casa. Siccome continuava a insistere anche nella telefonata del giorno dopo, che non avevo mantenuto la promessa, che quindi gli dovevo restituire dei soldi, ci riflettei un bel pò. Che la camera a Rhodi fosse poi com’era, era quasi come se non mi fossi meritata quel viaggio.

05, Fassade im Quadrat, Rhodos, fw,4,

05, Fassade im Quadrat, Rhodos, fw,4,
05, Fassade im Quadrat, Rhodos, fw,4,

05, Façade in the Square, Rhodes, oil on canvas, 50 by 50 cm, 2009. Which for sure was not better in the past was the housing situation. As I disapprove of the fact that people are allowed to rent out places they themselves not even set foot in when showing people round, so before book some accommodation I ask if there is a window. This was the case with a room in Rhodes but the window looked out onto the wall of the ventilations shaft of the toilets. Since that time I have always asked what I could see from the window when booking a room.

05, Facciata quadrata. Rhodi. Olio su tela. 50 x 50 cm, 2009. Ho preso l’abitudine, prima di prenotare una camera, anche per una singola notte, di chiedere se la camera avesse la finestra. La finestra c’era, anche nella mia stanza à Rodi. La vista però andava soltanto fino al muro all’altra parte della tromba di ventilazione del bagno. Sin da quell’esperienza chiedo anche, che cosa si vede guardando dalla finestra.

06, Formation auf Weiß, fw,4,

06, Formation auf Weiß, fw,4,
06, Formation auf Weiß, fw,4,

06, Formation auf Weiß.  Öl auf Leinwand, 60 x 80 cm, 2010. Der tief ansetzende Zweig eines Nussbaumes hinterließ bei jedem Fotodurchgang im Freien seinen Schatten auf den Bildern. Aus einem dieser Schattenfotos malte ich später den Schatten dieses Schattens, und zwei der Blätter wurden zu Gestalten, die hintereinander oben auf dem Ast sitzen als wäre der ein Hexenbesen.

06, Formation in White, oil on canvas, 60 x 80 cm, 2010. When taking photos, the low branch of a nut tree produced a shadow in the pictures. Based on one of these photos, I later painted the shadow of  the shadow and two of the leaves became figures sitting on the branch as if it were a witch’s broom.

06, Formazione su Bianco. Olio su tela.60 x 80 cm.  L’ombra del ramo basso di un noce  era visibile su ogni foto del quadro. Una di queste foto con ombra mi ispirò a dipingere l’ombra di quell’ombra con due foglie trasformate in figure sedute sul ramo come su una scopa da strega.

07, Lilas Reise nach Brombeer, fw,4,

07, Lilas Reise nach Brombeer, fw,4,
07, Lilas Reise nach Brombeer, fw,4,

07, Lilac’s Journey to Blackberry, oil on canvas, 60 x 80 cm, 2010. I had dismissed the exhibition of four pictures in a bank as a minor consideration lying ahead. I exchanged the pictures every week and when I drove to the bank,  sometimes twice a day , I changed  from one side of the river Mur to the other and passed placed which I had avoided for years. I associated them with memories which I had banned to those places in order to put them away. Every time I arrived there, pieces of the lump in me dissolved. One day, I suddenly remembered that I had lived behind the bank for some years, on another day that I had spent my first lessons in oil painting in the building opposite. From those memories developed all my texts for my first volume of miniatures referring to my time in Rebengasse. At the same time I continued painting. One of the pictures that had to do with those thoughts is the play of colours with lilac and blackberry, with stairs and hints of façades as architectural brackets.

07, Passaggio da Lilla a Mora,  Olio su tela, 60 x 80 cm. Avevo considerato un lavoro secondario, esporre in una banca  quattro quadri che andavano cambiati ogni settimana. Le mie consegne, certe volte anche due in un giorno, mi riportavano al di là del fiume Mur, in posti che per anni avevo evitato essendo loro strettamente legati a ricordi che riuscivo a tenere a bada  solo perchè appunto li collegavo a quei posti. Con ogni nuova consegna, ogni passaggio, si scioglieva una  parte del groppo che mi sentivo in gola e un bel giorno mi ricordai di aver avuto per alcuni anni una casa dietro la banca, un altro giorno di aver preso le prime lezioni di pittura a olio nell’edificio di fronte. Ecco come si svilupparono, parallelamente alla pittura, tutti i testi del primo volume delle Miniature riguardo alla mia vita nella Rebengasse. Un quadro che rispecchia questi pensieri è il gioco di colori tra lilla e  mora, di gradini e facciate come parentesi architettonica.

08, Brombeeren, fw,4,

08, Brombeeren, fw,4,
08, Brombeeren, fw,4,

08, Brombeeren.  Öl auf Leinwand, 60 x 80 cm, 2012. In der Gegend dort herrscht reges Nachtleben. Die Wände bei uns in der Rebengasse waren hellhörig, der Bau mitsamt seinen Mauern irgendwie durchsichtig. Uns störten die anderen damals nicht, aber wir oft die anderen. Die Nachbarin von unten rief wegen jeder noch so kleinen Feier bei uns an, und wenn wir Gäste mit Musikinstrumenten hatten, reagierte sie mit Telefonterror, aber auch, wenn ich allein in der Wohnung war, rief sie an und erkundigte sich, welche Schuhe ich trüge. Dass ich „keine“ sagte, fand sie ungeheuerlich, denn barfuß mache den meisten Lärm.

08, Blackberries, oil on canvas, 60 x 80 cm, 2010. Nightlife in that area was vey busy. The walls of our flats in Rebengasse were thin, the whole building somehow transparent. The others did not bother us but we upset them. The neighbours from downstairs would call whenever we were having a little party and when we had invited people playing instruments she would terrorize us with her calls. However, when I was alone at home, she would call and ask what type of shoes I was wearing. When I said I was not wearing any she was outraged because she was of the opinion that barefoot was loudest.

08, More. Olio su tela, 60 x 80 cm, 2010. Quel quartiere è noto per una vita notturna piuttosto vivace. Le pareti di casa nostra nella Rebengasse erano dall’udito fine, tutto il palazzo malgrado i muri in un certo qual modo trasparente. Noi non ci sentivamo disturbati dagli altri allora, gli altri da noi, però, sì. Ogni festicciola a casa nostra  significava telefonate dalla vicina di sotto. Se poi qualche ospite suonava uno strumento, ci tempestava di telefonate, ma anche quando ero sola in casa telefonava per sapere che scarpe portassi.  Che girassi a piedi nudi le sembrava inaudito, visto che scalzi si fa ancora più rumore

09, Fassade in Herbstfarben, fw,4,

09, Fassade in Herbstfarben, fw,4,
09, Fassade in Herbstfarben, fw,4,

09, Fassade in Herbstfarben. Öl auf Leinwand, 80 x 80 cm, 2010. Dass ich die herbstlichen Farbtöne der Brombeerzeit verwendete, setzte in meinem Gedächtnis immer auch die Malstunden mit den beiden Brigitten frei, die sich durch meine Bilderzustellungsfahrten verstärkten, weil der Parkplatz für das Auto genau gegenüber von dem Haus war, in dem Brigitte Eins nach ihrem Auszug aus dem Internat gewohnt hatte. Auf der anderen Seite des Häuserblocks, in dem sich die Bank mit meiner Wechselausstellung befindet, ist das Haus in der Rebengasse, wo ich zusammen mit meiner jüngsten Schwester Edith in einem Herbst eingezogen bin.

09, Façade in Autumn Colours, oil on canvas, 80 x 80 cm, 2010. Using the autumn colours of the blackberry season I remembered the painting lessons with the two Brigittes. The memories became stronger when I was delivering my pictures to the bank because the parking lot was opposite the building in which Brigitte number one lived after she had left the boarding school. There I had my first lessons in oil painting. On the other side of the block where the bank with my temporary exhibition was, was the block in Rebengasse where I moved in with my youngest sister Edith one in autumn.

09, Facciata in colori autunnali, olio su tela, 80 x 80 cm. I colori autunnali della stagione delle more mi riportarono in mente le lezioni di pittura con le due Brigitte. Ricordi che si rinforzarono a ogni consegna perchè il parcheggio si trovava proprio di fronte alla casa che Brigitte Uno aveva affittato appena uscite dal collegio. Dall’altra parte dell’isolato con la banca ospitante la mia mostra, si trova la casa della Rebengasse, dove parecchi autunni fa ero andata a vivere con  mia sorella minore Edith.

10, Gästebild, fw,4,

10, Gästebild, fw,4,
10, Gästebild, fw,4,

10, Gästebild, Öl auf Karton und Holz, 33 x 43 cm, 2010. Sie führte mir vor, wie das Übersiedeln ohne Anstrengung funktioniert. Nach und nach kamen irgendwelche Leute, die sie bei einem Abendausgang kennen gelernt und zum Essen bei uns am Hohlweg eingeladen hatte, mit ihren Autos bei uns an. Nach dem sehr unterhaltsamen Essen packte jeder von ihnen einige Sachen ein, und mit einer einzigen Fahrt hatten wir alles auch schon in unserer neuen Wohnung. Manchmal geht zur Abwechslung etwas auch wirklich leicht.

10, Guest-Picture, oil on cardboard and wood, 33 x 43 cm, 2010. She demonstrated to me how moving works without difficulty. Some people arrived in their cars. She had met them when going out and had invited them for lunch to our flat in Hohlweg. After the entertaining meal all of them put some of our belongings into their cars and everything was taken to our new flat at one go. Sometimes things are really easy for a change.

 

10, Quadro per gli ospiti. Olio su cartoncino e legno, 33 x 43 cm. Mi fece vedere come traslocare senza fatica.  Alla spicciolata vedevo arrivare gente che lei aveva conosciuto la sera prima e invitato a cena a casa nostra. Dopo una cena molto divertente, ciascuno di loro caricò la propria macchina di roba nostra e con un unico viaggio il trasloco fu completato. Qualche volta qualcosa riesce anche in modo semplice.