2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (theoretical data)

"When the going gets weird, the weird turn pro“
Contemporary saying, source unknown


As decribed in my work statement, the main drive of my artistic production is characterized by an impulsive use of a wide range of styles and gestures. The last public artworks I was able to realize („stormscene“, comissioned by the City Council of Nuremberg/Germany, „Monument for Donatella Versace“ Chicago/Berlin 2005, „crashed satellite“ 2006, several locations), which were dealing with „second hand experience“ as well as „unwished co-branding“ remain as critical and divers interventions of a distinguished art practice, which intends to be „post-productive“. In the work „Hell is Coming/World Ends Today“ I would like to show reference to the situationist movement, its strong impact and continuous flow and, in relation to that, point to some of the common problems any movement seems to be afflicted by: The moment of its pure realisation by an individual´s mind vs. the competitiveness of styles, attitudes and trendiness of specific concepts in society.   

In this case, the philosophical thesises with, in my opinion, the strongest and most direct impact on the individual in the Western societies
-    speed and devastation/ Paul Virilio
-    „the camp/ the concentration camp“/Agamben
-    „power“/ Foucault
-    „hatred/fundamentalism“/ represented by Fred Phelps, right-wing preacher

These are the elements of this ephemere intervention to the public.

I would like to transfer these philosophers into „labels“ by asking inhabitants of selected districts of Madrid to wear urban fashion items with label-prints for one week in their daily routine. While  simply following their daily routine, the artwork itself sinks into the urban space, the philosophical concepts compete face-to-face with the other label concepts in the public domain.

The question this work is raising: Are these names already „labelized“ (or people would simply acclaim them as bing labels) or do they transport meaning? Can such an ephemere intervention survive as an artwork in the eyes of the public?