#426 – Hermes Payrhuber
opening: 10.12.2010 7pm
Who was the first storyteller? A lonely hunter consoling his fellows on a cold northern evening far from home? A mother calming a frightened child with tales of gods and demigods? A …lover telling his intended of fantastic exploits, designed to foster his courtship? The reader can multiply the number of possibilities, but we shall never know the answer.
Hermes proposes to us “Wenn die Welt still steht, short circuit” a collection of notes to himself, doodles and drawings. They are attached, woven together and form a single entity. In the truest sense of the word – he lets the work “stand in the room”. This assemblage appears to be a column, connects the floor and the ceiling and reflects itself in a mirror the shape of a circle. Here it can repeat itself to infinite possibilities. Without begin or end, it remains a fragment left in space.
This collection of notes runs on the infinite libidinal energy of its assemblages – the uncontrollable current that Deleuze nominated as desiring machine. “Assemblages are compositions of desire. Desire has nothing to do with a natural or spontaneous determination; there is no desire but assembling, assembled desire. The rationality, the efficiency of an assemblage does not exist without the passion the assemblage brings into play, without the desire that constitute it as much as it constitutes them.”
Why do we associate certain feelings with different kinds of places? Or, better yet, how does our behavior change, physically and psychologically, when we experience various public and private social spaces? These behavioral relations in space are inextricably united with time. We explore and know space in terms of time, explore and know time in terms of space, and continually reconcile these frameworks.
Hermes offers another clue, made out of plaster and placed on the floor. We might follow his footprints, engraved by his own weight in the round surface, when he walked in circles again and again and again. Covered with the dust and debris of his studio, collected over the last decade.
We sense his concern with removals or the residue of an act. Indeed, this process of removing or eradicting has constantly been an elementary basic in sculpture.
“what it feels like in the world”, a silver gilded wall-relief is mounted on the wall. The “unfinished” surface acts to its steady performance. From the outside into the center the material oxidizes and with its wasting measures time.
Hermes’s world, in fact is perennially in motion: with in its fluid borders objects get transformed, values exchanged, contexts overlapped. Wheter working on a sculpture, a photograph, or an installation, he never seems content with creating a merge product or image.
He aspires instead to use art as a catalyst for a variety of meanings. His work, then, becomes both the point of departure and the terminus of an endless journey through the spirals of memory.
In his exhibition #426, Hermes describes the qualities of space. Using a series of principles based on criteria that range from historical, and physical to compatibility, crisis, memory, and penetrability.
He opens up the possibility of interpretation and discourse on the conditions embedded in different spaces. Hermes raises a discussion on the origins, uses, histories, influences, and current and past activities that accompany our personal experience of various spaces and encourages this discussion to go its way.