ICH BIN NICHT AUF DIESER - Susanne Carl
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ICH
BIN
NICHT
AUF
DIESER
WELT
SUSANNE CARL
BRUNO W EIß
7
Wie im richtigen Leben
Thomas Heyden
123
Ich habe da noch eine
rote Kehrmaschine!
Regina Pemsl im Gespräch
mit Susanne Carl und Bruno Weiß
133
English Translations
146
Biografien
13
27
31
41
55
63
73
77
79
83
113
121
Just like real life
Thomas Heyden
… are the scenes in which artist Susanne Carl and photo-
grapher Bruno Weiß allow us to participate really.
Although the figures are wearing masks they seem
strangely familiar to us and we sometimes even recog-
nize ourselves in them. That stiff way that we pose when
we know that we are being photographed. The way that
we play boss or secretary and – far too infrequently –
dream about escaping from all our obligations. Yes, the
stock situations on which Susanne Carl and Bruno Weiß
draw are human, all too human.
In fact, being a “persona” amounts to the same thing
as wearing a mask – persona is the Latin for a mask,
a role. And what is so appealing about masks is the
fact that they can be donned consciously. Unlike the
situation with us as a person, we can choose to put
a mask on or to take it off. A consciously assumed
role that we are allowed to play is thus much easier
than the roles in society that we have to play because
other people accord them to us. Roles that have been
prac-ticed and memorized for so long that they almost
become an integral part of us. We and this persona
132 133have long since become one and the same thing. This her art its unmistakable feel, as well as saving it from
kind of masquerade allows for the kind of freedom not the mannered quality displayed by cryptic pictorial
possible outside the theatre, even for the spectators. arrangements.
This is why even the happiest mask has something sad
about it. In terms of physiognomy, the masks that Susanne Carl
herself creates are absolutely full of character. A
Susanne Carl takes the promise of this kind of freedom variety of hairstyles and clothes transform the people
to levels where the distribution of roles is normally she portrays into individuals. By contrast, their rigid
quite clear. It is she herself who breaks in on seemingly masks and their eyes, hidden behind holes, make for
familiar situations in order to question the rules of a kind of stereotyped distance similar to Brecht’s
the game that is society. The results of such collisions alienation effect and are a prerequisite for reflection.
are often comical and can sometimes be moving. At the same time, the mask necessitates a shift in
We witness escapes on a small scale and breakdowns the characters’ expressions from their faces to their
on a large scale. From the banality of our domestic bodies. This is the true secret of masked theatre. To
routines and from an omnipresent melancholy. It no small extent it was through her collaborations
should be mentioned at this juncture that humour and with English fooling artist Franki Anderson and a
sentimentality are not ends in themselves but prepare Berlin-based masked theatre troupe, Familie Flöz, that
the path for our astonishment about just how much Susanne Carl gained experience and perfected her
our perception is guided by stereotypes. Susanne art. Because she does not work with neutral masks
Carl is particularly fond of reflecting on stereotypical (as do people such as the great French pantomime
roles and adept at caricaturing them. Bruno Weiß artist Jacques Lecoq), the mood and the emotions
captures these parodies in precisely composed shots conveyed are predefined and the same applies to the
which never lose sight of the quotidian aspect, even repertoire of gestures. The figures involved often
when the scenes and poses in question can be disturb- seem decidedly naïve, unsure of themselves, in need
ing. The photos neatly sum up Susanne Carl’s art, of protection, in fact. This means that we do not re-
transforming it into the kind of thing at which she was main indifferent to them but that they appeal to our
aiming from the outset. The finished product is the sense of empathy.
kind of images that could also be described as staged
photography. Parallels with Cindy Sherman or Gillian Ich bin nicht auf dieser Welt (I am not in this world):
Wearing spring to mind, but such parallels fail to take The title of the book under consideration does not only
account of the fact that Susanne Carl never loses sound so biblical (cf. John 8, 23 “I am not of this
sight of her roots in theatre and clownery. This lends world”) because it is an abbreviated quotation. In full
134 135the quotation reads “I am not in this world to live up I have a red street
to your expectations.” It originally comes from the sweeper somewhere!
famous Gestalt Prayer (1969) by Fritz Perls, the On pictorial composition
found-er of Gestalt therapy. And because masked using masks
theatre is not only suitable for educational purposes Regina Pemsl interviews
Susanne Carl and Bruno Weiß
but also, and especially, for therapeutic ones, the
origin of the quotation is doubtless more than a
coincidence. The full text of the Gestalt Prayer is:
I do my thing, and you do your thing.
I am not in this world to live up to your Regina Pemsl (R): Bruno, I first made your acquaint-
expectations And you are not in this world to ance more than 20 years ago when you produced very
live up to mine. You are you and I am I, sensitive photographs of one of my installations – just
And if by chance we find each other, it’s beautiful. the way I saw it myself. Later, I ran into you again as
If not, it can’t be helped. an artist – for instance, at LeoPARTs, with your work
Mein Gesicht ist dein Gesicht (2009). How do you see
Critics have accused Perls’ text of promoting selfish- your role in the project Ich bin nicht auf dieser Welt?
ness, but surely it could also be read as a plea for
respecting other people? For accepting people the Bruno Weiß (B): I logically see myself as a photogra-
way they are and not the way we think they should pher, somebody who turns situations into images. My
be. “To be valued for the person you are” – as Franki approach is quite a classic one. In contrast to current
Anderson puts it on her website – this is the central practices, I try to set up my original pictures in such
message in the art of Susanne Carl and Bruno Weiß. a way that they don’t require subsequent manipula-
Is further proof of its topicality really necessary? tion. From this angle my pictures really do reflect
my view of the world. Susanne provides the ideas for
me to create a pictorial world that then has a great
deal to do with me myself.
R: Our world has unnumerable facets – do you filter
something out of it or do you add something to it?
136 137Susanne Carl
geboren 1962 in München, seit 2001 Ausstelllungen, Performances und 2007
lebt als freischaffende Leitung von Seminaren zum Thema Kunstprojekte im öffentlichen Raum Pferdestärken, Installation und Per-
Künstlerin in Nürnberg Clown, Narr, Maske, und Körper- (Auswahl) formance, Blaue Nacht, Nürnberg
born 1962 in München, lives as theater Exhibitions and art projects in
2009
a freelance artist in Nuremberg public space (Selection)
2003 Rosi, Ross und Reiter – ein
1988 –1993 Entwicklung der Kunstfigur Rosi, die 1991 Denkmal in St. Leonhard, LeoPART,
Studium an der Akademie der Bil- seitdem regelmäßig Teil von Perfor- Kunststudenten stellen aus, Bonner Nürnberg (mit Bruno Weiß)
denden Künste in Nürnberg bei mances wurde Kunstverein
2010
Prof. Günter Dollhopf und Prof.
2007 1992 Frieda geht einkaufen, LeoPART,
Hans Peter Reuter
Gründungsmitglied von LeoPART, Triga, INTERIM – Zwischenräume für Nürnberg (mit Bruno Weiß)
1993 – 2000 Nürnberg, Schwerpunkt Kunst, Nürnberg Eine Reise ins Glück – Masken unter-
Kunsterzieherin, parallel partizipative Kunstprojekte wegs, partizipatives Kunstprojekt in
1993
Fortbildun-gen im In- und Ausland Kooperation mit dem Staatstheater
seit 2009 KunstRaumFranken, Kunsthalle
zu Perfor-mance, Körpertheater, Nürnberg, Blaue Nacht, Nürnberg
Zusammenarbeit mit Bruno Weiß Nürnberg
Komik und Improvisation
2011
Preise und Stipendien 1994
1995 – 2010 Ein Denkmal für Neu-Ulm, Aktion im
Prizes and Awards November, Stadtmuseum Amberg
Lehrauftrag zu Maskenbau und Mas- Rahmen des Stadtjubiläums, Neu-Ulm
kenspiel, Institut für Kunsterziehung, 1991 2001
2012
Universität Regensburg Kunstförderpreis der Stadt Lauf KunstRaumFranken, Kunsthalle
Und der Gewinner ist…, Kunstvilla im
Nürnberg
2000 2007 KunstKulturQuartier, Nürnberg
Gründung des Rote Nase Nürnberg-Stipendium 2003 Meisterwerke, Kunstprojekt in Koope-
Clownthea-ters, Nürnberg Rosis Luft-Raum, ortsspezifische ration mit dem Staatstheater Nürn-
2015
(mit Barbara Richter) Performance, Blaue Nacht, Nürnberg berg, Blaue Nacht, Nürnberg
Paula-Maurer-Preis
Raumspiele – Spielräume, im Rahmen
2001 2005
von SPACES, Haidplatz, Regensburg
Teilnahme am Studienkurs Fool and Rosis Luftsprünge, ortsspezifische
Performance, The Empty Space – Performance, Blaue Nacht, Nürnberg www.susanne-carl.de
Theatre Research Studio, Bristol,
2006
Großbritannien, bei Franki Anderson
Ross und Rosi, ortsspezifische Per-
formance, Blaue Nacht, Nürnberg
146 147Bruno Weiß
geboren 1951 in Amberg, lebt als Ausstelllungen (Auswahl) 2006
freiberuflicher Fotograf in Exhibtions (Selection) Zeitlupe – Câmera Lenta, Centro
Nürnberg born 1951 in Amberg, Dragão do Mar de Arte e Cultura
1986
lives as a freelance photographer Nürnberg / Fortaleza, Brasilien
Plakat – Wand – Kunst, öffentlicher
in Nurem-berg
Raum Nürnberg 2008
1973 – 1977 Begegnungen, 6. Weißenburger Tage WASSER, Ponte Cultura e.V., Auf AEG,
Studium der Anglistik und der Jungen Literatur, Gotisches Rat- Nürnberg
Romanistik an der Ludwig- haus, Weißenburg
2013
Maximilians-Universität München
1995 Xianjiang, Rhine. 2013 Germany
seit 1982 Große Kunstausstellung München, (Nuremberg) Painting & Photography
als Fotograf Zusammenarbeit mit Haus der Kunst, München Show, Zhuzhou, China
zahlreichen bildenden Künstlern,
1999 www.fotografie-brunoweiss.de
Galerien, Museen, Firmen und Thea-
Ich trage Schmuck – Schmuck und
tergruppen in In- und Ausland
Fotografie, Forum für Angewandte
Lehraufträge für Fotografie an ver-
Kunst, Germanisches National-
schiedenen Einrichtungen künstleri-
museum, Nürnberg
scher Erwachsenenbildung
2003
seit 1998
Uma Ponte sobre o Tempo – Eine
Mitglied im Bundesverband Brücke über die Zeit, Stadthalle, São
Bildender Künstler
Carlos, Brasilien
seit 2004
2004
Lehrauftrag an der Bienal de Arte e Cultura, Jaboticabal,
Jugendkunstschu-le, Erlangen
Brasilien
regelmäßig Lehraufträge für Schulpro-
jekte an verschiedenen Einrichtungen 2005
Bruno Weiß – Offenbarung des All-
seit 2009
tags, Portraitfotografie, Gemeinde-
Mitglied von LeoPART, zentrum St. Jobst, Nürnberg
Nürnberg, Schwerpunkt
partizipative Kunst-projekte
Zusammenarbeit mit Susanne Carl
148 149Impressum
Imprint
Diese Publikation erscheint anlässlich Druck und Herstellung Print and binding:
der Ausstellung This book is published DZA Druckerei zu Altenburg GmbH
in conjunction with the exhibition:
Auflage Edition:
Susanne Carl / Bruno Weiß 1.000 Exemplare copies
ICH BIN NICHT AUF DIESER WELT
Institut für moderne Kunst © 2016 die Künstler, Autoren,
im studio des zumikon, Institut für moderne Kunst Nürnberg,
Verlag für moderne Kunst
Nürnberg 22. 4. bis 29. 5. 2016
Alle Rechte vorbehalten All rights reserved
Herausgeber Editor:
Institut für moderne Kunst Nürnberg Erschienen im Published by:
VfmK Verlag für moderne Kunst
Grafische Gestaltung Graphic Design:
GmbH www.vfmk.org
Timo Reger
ISBN 978-3-903131-13-2
Texte Texts:
Thomas Heyden, Regina Pemsl Bibliografische Information der Deutschen
Nationalbibliothek: Die Deutsche National-
Übersetzung Translation: bibliothek verzeichnet diese Publikation in
Jeremy Gaines der Deutschen Nationalbibliografie;
detaillier-te bibliografische Daten sind im
Lektorat Proof Reading: Internet über http://dnb.d-nb.de abrufbar.
Joshua Groß, Esther Bibliographic information published by the
Kiener, Anke Schlecht Deutsche Nationalbibliothek: The Deutsche
Nationalbibliothek lists this publication in
Fotografie Photography:
the Deutsche Nationalbibliografie; detailed
Bruno Weiß, außer bibliographic data are available on the
Seite 149: Susanne Carl Inter-net at http://dnb.dnb.de.
Schrift Typeface: Vertrieb Distribution
D, A und Europa and Europe: LKG,
URW Grotesk
www.lkg-va.de
Papier Paper: CH: AVA, www.ava.ch
UK: Cornerhouse Publications,
BVS matt 150g/m2 www.cornerhousepublications.org
USA: D. A. P., www.artbook.com
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