Jonas Büßecker
@jonas_buesseckerhttps://www.jonasbuessecker.de/
Movement is an integral aesthetic component of Jonas Büßecker's sculptural works, although nothing moves in his compositions. We are accompanied by the uncanny feeling that if we look in another direction for only a very short time, the machine's rollers will start to rotate and activate a complicated mechanism that will put us in danger.
Even in his early creative phase, the young artist uses deflection pulleys and jute cords to construct simple machines that compensate for the tensile forces in his complicated rope system. At the center of each of his mechanisms float one or more objects, such as old hiking boots, wooden chairs, concrete blocks, crushed cushions with feathers and anthropomorphic forms with polyester filling. In post-apocalyptic, deserted worlds, the force of gravity loses its effect and another, secret and anti-gravitational force forces the static objects to float freely.
These objects hanging in the air or only slightly touching the ground are tied together with taut ropes, cords or transport belts. Bent, stretched, pulled and tugged, the whole composition thus evokes a feeling of inner and outer tension. The constant invisible yet tangible pushing and pulling results in an unmoved stability of the whole structure. Yet, despite this immobility, as other bodies in the same space, the fragile and unstable radiance of floating forms sets us in a state of unease.
The structures created by Büßecker are based on a dialectical tension of two opposites: fragile and stable, soft and hard, light and heavy. Fragile, soft and light materials, such as feathers, thread and cushions meet raw and hard concrete blocks, steel rods and hoes. In this confrontation, the typical balance of power turns into its opposite. The typically load-bearing building materials, such as stone, concrete and steel, become the supported elements and the fragile elements exert the decisive force.
In Büßecker's later works, the moment of physicality becomes increasingly central. Slightly anthropomorphic forms with recognizable spine and muscle structure are transformed into fragmented body parts reminiscent of body hybrids from the repertoire of Louise Bourgeois and Berlinde De Bruyckere. Blackmailed and oppressed, the body is trapped in the steel frame of angular scaffolding. Cramped by pain, it acts like a bag or sack that can be flexibly expanded and stretched under enormous forces. The suppressive and form-giving machinery of chains and ropes surrounding it provokes the viewer to critically reflect on the social standardization of the body and its involvement in social power relations.
Although the suppressive mechanisms constructed by the artist still appear berdrohlich, they can no longer cause any harm, since they are frozen in the midst of the movement. In their standstill they still worry us, although, as we quickly realize on closer inspection, they seem to be completely functionless and even absurd. The final revelation of the functionlessness of the socially shaped meaning machinery guarantees an empowering moment in which we can free ourselves from the ""rules that nobody can change.
Text: Maya Smoszna
Even in his early creative phase, the young artist uses deflection pulleys and jute cords to construct simple machines that compensate for the tensile forces in his complicated rope system. At the center of each of his mechanisms float one or more objects, such as old hiking boots, wooden chairs, concrete blocks, crushed cushions with feathers and anthropomorphic forms with polyester filling. In post-apocalyptic, deserted worlds, the force of gravity loses its effect and another, secret and anti-gravitational force forces the static objects to float freely.
These objects hanging in the air or only slightly touching the ground are tied together with taut ropes, cords or transport belts. Bent, stretched, pulled and tugged, the whole composition thus evokes a feeling of inner and outer tension. The constant invisible yet tangible pushing and pulling results in an unmoved stability of the whole structure. Yet, despite this immobility, as other bodies in the same space, the fragile and unstable radiance of floating forms sets us in a state of unease.
The structures created by Büßecker are based on a dialectical tension of two opposites: fragile and stable, soft and hard, light and heavy. Fragile, soft and light materials, such as feathers, thread and cushions meet raw and hard concrete blocks, steel rods and hoes. In this confrontation, the typical balance of power turns into its opposite. The typically load-bearing building materials, such as stone, concrete and steel, become the supported elements and the fragile elements exert the decisive force.
In Büßecker's later works, the moment of physicality becomes increasingly central. Slightly anthropomorphic forms with recognizable spine and muscle structure are transformed into fragmented body parts reminiscent of body hybrids from the repertoire of Louise Bourgeois and Berlinde De Bruyckere. Blackmailed and oppressed, the body is trapped in the steel frame of angular scaffolding. Cramped by pain, it acts like a bag or sack that can be flexibly expanded and stretched under enormous forces. The suppressive and form-giving machinery of chains and ropes surrounding it provokes the viewer to critically reflect on the social standardization of the body and its involvement in social power relations.
Although the suppressive mechanisms constructed by the artist still appear berdrohlich, they can no longer cause any harm, since they are frozen in the midst of the movement. In their standstill they still worry us, although, as we quickly realize on closer inspection, they seem to be completely functionless and even absurd. The final revelation of the functionlessness of the socially shaped meaning machinery guarantees an empowering moment in which we can free ourselves from the ""rules that nobody can change.
Text: Maya Smoszna