Xenien

Mit hundert Xenien, wie hier ein Dutzend beiliegen, könnte man sich sowohl dem Publico als seinen Collegen aufs angenehmste empfehlen.

Goethe an Schiller am 26. Dezember 1795

Der Gedanke mit den Xenien ist prächtig und muß ausgeführt werden. Die Sie mir heute schickten, haben mich sehr ergötzt, besonders die Götter und Göttinnen darunter.

Schiller an Goethe am 29. Dezember 1795

Dem Grundsatz der Vivisektion des Zeitgeistes folgend, präsentiert Bublitz in der Serie Xenien kleinere Formate der Gegenwartsanalyse. Während die thematisch ähnliche Ausstellungsreihe Handlungsbereitschaft darauf zielt, größere zeitgenössische und kulturhistorische Zusammenhänge zu visualisieren, haben die Xenien (griech. "Gastgeschenke") einen bewusst fragmentarischen Charakter. Sie sollen sticheln.

In this tale we find three different places (A), (B), (C) and one alter ego/avatar (D). It takes place at MMS2, the Dzialdov, the studio of Michal Martychowiec, the entire Hansa Quarter (in the streets, on the facades of houses or inside private houses), the Museum of Natural History in front of the stuffed panda Bao Bao and in the Gemäldegalerie in Potsdam in front of the painting “The incredulity of St Thomas” by Michelangelo de Caravaggio.

Given are:

1. The studio
2. The project space (Heroon)
3. The landscape
4. The spectator

These narratives are closely linked and form the symbolistic exhibition Engel mit Sphinx Gesichten (Sphinx-faced Angels).

Three main actors represent different modes of existence of (D). They are meant to be understood as symbols or mythologems.

1. The panda is a degenerated creature (we want to keep the good times even though they are gone) – have a look on Robert Lifton’s book about the protean self to learn more or read “The revolt of the masses” by Ortega y Gasset.
2. Marcel Duchamp. He is a 20^th century artist and professional chess player.
3. Thomas the Apostle. He does not believe in the resurrection of Jesus as one reads in the bible’s passage. He only believes in what he sees. He is a positivist (science is a religion which changes the paradigms quickly). On the opposite the belief is more static and secure. But as we see in Thomas the most difficult to obtain.

On the occasion of the Verlegung und Einweihung der Herme 'Der Kommende Gott' two more actors are added.

1. Friedrich Hölderlin. A monolithic as good looking person who is considered (by some) as the most important german poet of all times.
2. Martin Heidegger. He is a 20^th century philosopher and admirer of Hitlers hands (“Bildung ist ganz gleichgültig … sehen Sie nur seine wunderbaren Hände an.” Heidegger to K. Jaspers, May 1933). He has also been a votary of Friedrich Hölderlin.

This object based exhibition and tale is about the interconnection between belief (faith) and freedom. The readymade, the choice of the frame made by the artist, and since recently also the spectator, are ideas (in a platonic structural sense) one can reflect upon. The relation of belief of the spectator and belief of the artist reveals itself in the middle (A,B,C,D).

I. These are the first steps of a new humanistic mythology. Schicksal ist Auftrag des Zufalls (destiny has a mandate of coincidence).

II. These are the first steps of a new humanistic mythology and another experiment on the historical readymade. Pop wird das Forum sein, die Mode die Monstranz (pop will be the forum, fashion the monstrance).

III. These are the first steps of a new humanistic mythology and another experiment on mystagogy. Es geht um Beweglichkeit, nicht um Bewegung (it has never been about being moved, but agility).

Download: Aushang für Bewohner des Hansaviertels