Jörg Reme

*Jörg de Reme: The seer, surrounded by the landscape, imagines himself to be a world. He invents and marvels. Like Archimedes, thinking in his bath; such as Paracelsus, who defied the power of the metaphysical worldview of his day by claiming to be capable of the creation of an artificial man; like Paul Celan, seeing utopia - through his speech bars. Inventions and miracles are due to new, challenging combinations of physics and adventure, not to a humble, metaphysical ostrich attitude. And art, like other forms of research, is not humble. For the adventure of artistic creation decides the utopian space that was previously desolate and empty, and every step further into that space, says Octavio Paz, is forever irreparable, forever indelible. The taboo of traditional reality has been violated forever. Life is changing, the world is taking on a new face. It's never going to be the same again. In the 1860s, in a polemical essay against a conception of art known at the time as "philosophical" art (art with a pedagogical, moral or other tendentious tendency, and which thus in a certain way subordinated itself to a "higher" truth), Charles Baudelaire wrote: "What is art according to the modern conception? This is the creation of a suggestive magic, which contains both the object and the subject, the world that lies outside the artist and the artist himself.' He sees the artist as a magician who enchants both things and himself. The magical act violates traditional reality, where there is no room left for the miraculous. The art figure that has fascinated Jörg Remé since 1968 - his self-made painter's model, which André Breton is said to have called an inner model - illustrates that for him, form and content are two aspects of the same thing.