11 V 1991

Bochum Muzeum, Bochum, germany

during the opening of the GEISTES GEGENWART exhibition (11 V – 23 Vi)

Description of the manifestation:

The manifestation takes place in a large, representative hall in the new Museum building. The official opening of the exhibition and the Session is to be held here. One of the highlights of the opening programme, alongside the speeches, is the artist’s manifestation. Following his instructions, audience chairs are arranged centrally, surrounding a free space in the middle of the hall. In the center of this open space stands a podium approximately 60 cm high. On it lies a medium-sized stone. Nearby stands a table with a chessboard on it, the pieces already set up for a game. On the opposite side of the podium stands another table with vodka glasses and a bottle of vodka. Within this central space there is also a stand with microphones for the speakers.

Action: The speeches have already been going on for half an hour. During the next speech, the artist appears. He enters the hall naked, with a noose around his neck, holding the hanging rope in his hands. His entrance draws the attention of those filling the hall. He stops halfway, while Museum Director Dr. Peter Spielmann continues speaking. The artist stands still and waits. The speech lasts several more minutes. After Director Spielmann’s remarks, Museum Curator Hans Gunter Golinski approaches the lectern. The artist continues to stand motionless. Curator Golinski speaks for several dozen minutes. The artist keeps waiting. After the curator’s speech, the President of the Protestant Bishops steps up to the lectern. He speaks; the artist still stands and waits. The bishop speaks relatively briefly. Finally, the Museum Director announces the action and introduces the artist to the assembled guests.
The artist steps into the center of the room and announces that this will be the fourth dialogue, summarizing the three previous dialogues: a debate with Marcel Duchamp, and also, indirectly, a dispute with Joseph Beuys. After these words, he performs actions similar to those described in earlier manifestations. He moves between the tables and the podium. At the chessboard table, he plays chess against himself. The moves of the white and black pieces are accompanied by painting black-and-white letters on the front of his body. At the other table, he pours vodka into glasses; this is accompanied by painting red stripes on his back. On the podium, he ties additional knots in the rope. Although he uses the same means, the manifestation conveys a different message. In the finale, the artist weaves a crown from the knotted rope, places it on his head, and stands on the podium. Naked, with the rope looped around his head, he slowly turns around his axis: his back covered with red stripes, and on his front the black-and-white inscription GEIST (GHOST). He then steps down from the podium.