Jorg Reme

*Jorg de Reme: The seer, surrounded by the landscape, imagines a world. He invents and marvels. Like Archimedes, thinking in his bath; like Paracelsus, who defied the power of the metaphysical worldview of his time with the claim that he was capable of the creation of an artificial man; like Paul Celan, seeing the utopia - through his speaking grille. 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 changes, the world takes on a new look. It will never be the same again. In a polemical essay against a conception of art that was then known 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 in the sixties of the nineteenth century: 'What is art according to the modern conception? That is the creation of a suggestive magic, which contains at the same time the object and the subject, at the same time the world that lies outside the artist and also 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 figure of art 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.