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Travel

Imaginary Journeys

· St. Gallen, CH ·

So far I have not been able to travel abroad this year. For those who know me that is a first, given my passion for journeys. So this week I am imagining the trips I’d take if given carte blanche in the next several month, with a focus on exhibits that triggered my curiosity.

I would start with Switzerland, St. Gallen to be precise, for a show fitting with the apocalyptic visions of this fall. Then a little detour to the village of Lenzerheide, where I learned to ski as a child, to hike through alpine meadows which are filled with mauve gentians and the pink autumn crocus until the end of October.

THE DARK SIDE OF THE MOON

THE ABYSMAL IN ART

FROM ALBRECHT DÜRER TO MARTIN DISLER

July 9th – October 23nd 2015, Kunstmuseum
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“See you on the dark side of the moon …” is a lyric from the legendary concept album by the British rock band Pink Floyd, which has remained a best-seller since its appearance in 1973. Thematically, the work revolves around the abysses of being human, around the anonymous power structures to which individuals in today’s society are subjected. Beyond the social circumstances in the sense of Mark Twain’s quotation “Everyone is a moon, and has a dark side which he never shows to anybody,” the dark side of the moon also points to existential dark sides.

Both form the crux of this thematic exhibition centered around a unique series of sculptures and large-scale installations by the legendary Swiss artist Martin Disler (1949–1996). These are surrounded by groups of impressive and uncanny works by Damien Deroubaix, Jutta Koether, Mona Hatoum, and Josef Felix Müller, among others. The contemporary pieces are augmented with works by old masters: the important Apocalypse series of woodcuts by Albrecht Dürer (1471–1528) and Les Grandes Misères de la guerre by Jacques Callot (1592–1635), which reveal an impressive panorama of social rejection and human abysses in dialogue with contemporary works across centuries.Curators: Konrad Bitterli and Matthias Wohlgemuth.” This intro from their catalogue does sound intriguing, doesn’t it? 
http://www.kunstmuseumsg.ch/unser-programm/aktuelle-ausstellungen/uebersicht.html
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On Traveling Alone

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I wonder where and when I got bitten by the travel bug. It certainly ran in the family. My father wanted to run away from home to become a sailor. War intervened and he ended up in chemistry journeying into a different world of elements. He spent his last years in a flat overlooking the river Elbe, following the big ships of his dreams. My mother got her degree in agriculture thinking it was her ticket to do developmental work in Africa. Marriage intervened, but she sure traveled, her last trip before her death in 1983 to Cuba. That was before it became fashionable and sort of easy…

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I think, however, I got infected by my aunt Ilse Obrig, a cousin of my mother. She was another one of those ahead of her time, driving by herself in a little car from Germany to Rumania to interview expatriates in the late 1930s and writing a book about it. Not even her roommate, a euphemism for same-sex partners in those times, went with her if I remember correctly. I read the book as a young child, in the 1950s and it spelled ADVENTURE. Tante Ilse, as we called her, became Tante to a whole nation of children – after the war she created the first regular children’s hour on National TV having done similar work on radio before. It was rather boring and conformist, in contrast to her real life adventures, teaching good manners, arts and crafts etc., with the occasional wonderful interruption by one of the emerging puppet theaters that dared to be more experimental.csm_bb4fbf354e_e123038b72

I was reminded of all this because I read about the perspective of travel writers here:

The Countries We Think We See

The discussion revolves around how much the narrator of a travel report injects his or her own person, how much we construct a country through our own expectations, how much of who we are colors what we hear and see. It got me to wondering about my own perceptions of the countries I visit. I don’t write travel reports, but I do photograph these days and that is an act of selective construction as well. And although I do not read up on the places I visit before I have seen them, bits and pieces of remembered history or cultural knowledge naturally affect my perceptions. And being a woman of a certain age, which translates into invisibility, for the most part, allows me to take pictures that others would have trouble taking, so who I am affects what I see and record. (The opposite, by the way, is also true: I cannot go to certain places that a man could, confirming selectivity.) But travel I shall!