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«Das Schweigen deutscher Räume erschreckt mich»
In the video-spatial-staging «Das Schweigen deutscher Räume erschreckt mich,» (The Silence of German Spaces Frightens Me) Marcel Odenbach’s intriguing principle of the epic evidence of contradictions was at its height in 1982. His grasp on art, which brings his precisely-struck, aesthetic critique of depictions which fail to sufficiently engage the memory in audiovisual agreement with the mutual rhythms of the memory and imagination, registers everything—from minute deviations on patterns of actions to the wanted-poster images of a distracted and illusionary sense of visual recognition in pictures. The enormous time lapse of the contrasting staging of documentation and fiction eloquently opens up imaginary time periods needed in order to feel addressed by the materials and react to fantasy at all. In the silence of a German gallery exemplifying an inhibited society with the best of consumer and communicative intentions, the remembering exercises of a tourist in Turkey are presented on a monitor’s screen in the ‹Turkish› turquoise interior, and on a nearby pendant the tourist’s recollection commentaries.
(Source: Marlis Grüterich, «Die Kunst zu leben—die Kunst sich zu erinnern», in: Marcel Odenbach. Stehen ist Nichtumfallen, (eds.), Badischer Kunstverein, Karlsruhe, 1988, p. 81.)