By Mary Kate Connolly
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Extra info for Throwing the Body into the Fight: A Portrait of Raimund Hoghe
Borders will be conquered. Without big gesture, quite simply. An opened book. “Be what you are / Give what you have,” writes the poet Rose Ausländer. ” Luca Giacomo Schulte’s works refer; react to each other and with the space in which they are. Change him. Apparently effortless and with big strength. With easy means and big differences, not only in colour. Counterrooms originate in which large-size works never look monumental and small objects have big effect. A sheet of paper can afford the changing of a space and seeing anew.
With mute objects, Raimund Hoghe has transformed the stage into a ballroom. At the end, the dancer Vincent Dunoyer returns to these three places. He revisits them, although they no longer exist. Where the ballroom once was, other images have emerged blotting out the light and the shadows. Images like the one in which Sarah Chase turns around on the spot with her arms stretched out. She, too, lets sand slip through her fingers which forms a spiral on the floor around her erect body. The scene is accompanied, or rather underlined, as one might say with reference to the emblematic tradition, by Bobbie Gentry singing Ode to Billy Joe.
Of course things have changed enormously since those days and Raimund’s work is now feted by the Dance world as much as the Live Art world, graces the world’s grandest stages and is acclaimed by critics. But what has not changed is the uncompromising nature of Hoghe’s work and his extraordinary vision and integrity as an artist. Opposite: Meinwärts 35 Montpellier, 4 Juillet 2011 36 Gerald Siegmund Raimund Hoghe’s Emblems of Absence The empty stage is lined by five young men with lowered heads and downcast eyes.
Throwing the Body into the Fight: A Portrait of Raimund Hoghe by Mary Kate Connolly