„point in time - 時点、今を確認する" – we substantiate this moment, time is not linear and a continual dot..., by Erika Matsunami

This is the fragment of my contribution „point in time - 時点、今を確認する" – we substantiate this moment, time is not linear and a continual dot..., which was stolen with my computer in 2014. This contribution will be never completed. After the part 3 in this contribution I had new experience, i had to consider about the reality that is "society"; their law, their culture and human right, also about Art itself in their society. Key words were western academic art education, professionalism, immigration, culture and culture layers in the society such as multi culture society in the globalization. What means "Global" for us..., „point in time - 時点、今を確認する" – we substantiate this moment, time is not linear and a continual dot..., is an artistic research project which creates a connection between the presentation of physical art works, lecture (artist talk) with three thematic parts and the exhibition (re-presentation) with kind support of berlinerpool in the studio at Aqua Carré Berlin and at the office of berlinerpool in 2013. This paper is a summary of "POINT IN TIME" in 2013 and a contemplation about arts and cultures in our contemporary society. The three topics "IDEA-Prefiguration", "performative-open system" and "Untitled-semiotics as personal code" will be summarized by the art works of artists; Eduardo da Conceição, Emma Waltraud Howes, Charlie Jouvet, Erika Matsunami, Enda O’Donoghue. It's a matter of the art works of artists which represent "time and space" in cognitive processes with different techniques and medium: from painting to performance up to multimedia. This basic theme "time and space" was taken up in the exhibition (re-presentation) on materiality and aesthetics, and to substantiate the cultures as background of artists and identity as well as individuality in our contemporary global society. Thereby I reflected about contemporary primitive and globally in the arts and the cultures. p.s Art is not for the economic market, art by some of the people is their cultural and human existence and the evidence of their identity. (...) I was a member of berlinerpool (mobile archive for and of berliner contemporary art) since 2009. After the burglary at the berlinerpool office in March. My studio and other studios at the studio house Aqua Carré Berlin were burglarized in April, 2014 accordingly. (I didn't know about the burglary at the berlinerpool office. Their office was brocken in, before the burgraly at my studio house Aqua Carré Berlin.), thus I quitted the membership of the berlinerpool in 2014l. ... (add. in 2015) (I could not comprise Sigrun Drapatz's contribution together with others. Because of several times to be burglarized at the studio house Aqua Carré Berlin in Berlin, as well as at my studio, the studio house Aqua Carré Berlin on April 1, 2014, Many data of this project as well Sigrun Drapatz's went missing. This exposition is before 1. April 2014. I dedicated this essay to Franz Koppe, Professor of Philosophy at the Berlin University of the Arts, who died in 2012.) Why I'd like to decided Sigrun Drapatz's project especially which one she created her artistic project in Turkey to present within the project 'point in time'. Her husband is a turkish migration in Germany and she has children with him. She doesn't understand islamic so well as well as languages. She is atheist, however she tried to understand and to create her project in her concept. I call her this work semiotic personal code. I didn't think her this work as activism, because there was no political aim. Thereby my question was, which kind of attention could given by this semiotic personal code in the intercultural communication, which 'communication' might be creativity? Many people today are atheist, thus it' usual today–a subject of democratic co-existence. After her generation in art, it has been starting the art from the perspective of the everyday life which art is not in 'metaphysics'. such as art to see into. In this part 3 „semiotics as personal code“, I researched on symbolism and today's art within theories by Cassirer and Goodman philosophically.

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Afterword/Nachwort

Das Projekt „Point in Time“ (2013) ist eine künstlerische Erforschung (artistic research) des Themas „Zeit und Raum“, mit dem ich mich bereits seit längerem auseinandersetze. Ich habe das Thema mit verschiedenen Medien in den Arbeiten von sieben Künstlern, die in Berlin ansässig sowie unterschiedlicher Generationen, Gender und Nationalitäten sind, den drei Unterthemen „IDEA-Prefiguration“, „Performative – Open System“ und „Untitled-semiotics as personal code“ zugeordnet. Der Schwerpunkt dieser künstlerischen Erforschung (artistic research) war, das Thema „Zeit und Raum“ allgemein zu erforschen und den Umfang des Themas in der künstlerischen Praxis des jeweiligen Künstlers (artistic practice) zu erfassen, die nicht nur das wissenschaftliche Verständnis des Themas, sondern ihre Entwicklungsphase und der Entwicklungsprozess der eigenen Aussagen sind. Ich beteiligte mich mit meiner Arbeit an der Präsentation, was eine Herausforderung für mich selbst ist, da ich dadurch meine Arbeit objektiv wahrzunehmen versuche.

Indem ich versuchte, Materialität, Individualität und Kultur als Hintergrund der Künstler in der zeitgenössischen Gesellschaft zu verstehen, konnte ich auch über die Funktion der Künste in verschiedenen kulturellen Räumen nachdenken.

Mit der Arbeit von Sigrun Drapatz habe ich mich in meinem Aufsatz nicht befasst, um mich auf das Thema „Zeit und Raum“ zu konzentrieren.

Ich widme diesen Aufsatz Prof. Dr Franz Koppe, Professor für Philosophie an der Hochschule der Künste/Universtität der Künste Berlin, der im Jahr 2012 verstorben war. Obwohl er kein Geisteswissenschaftler wie Deutscher Philosoph Heidegger in der Deutschen Philosopfie war, der viele Forschungsarbeiten veröffentlichte, leisten seine Artikel einen bedeutenden Beitrag zur zeitgenössischen Kunst und zur Zukunft der Kunst, die zu den am wenigsten und widersprüchlichsten Kunstphilosophien und Erkenntnistheorien in Deutschland zählt.

Ihnen allen gilt mein besonderer Dank für Ihre Unterstützung während meines Studiums an der Universität der Künste Berlin:

Fakultät für Bildende Kunst, Institut für Kunst im Kontext

KAW – Aesthetic Education/art and Cultural Studies / Institute for Art in Context

Fakultät für Musik, UNI.K – Studio für Klangkunst und Klangforschung

Fakultät für Architektur

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