W.M. Pühringer

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English



Martin Pail, Vienna:

Project: HIC ET NUNC 2001

an 11 meter high sculpture(stainless steel and painted aluminium)for a small square at busy streets in the 5th district of Vienna

I am convinced that I have always drawn with the ulterior motive that drawings are to be realised. To a certain degree the drawing as such has materialised independently and has intentionally remained art on paper.
The idea of realization(transformation), however, is somehow in the background of my works, independent of the scale of the drawings, which of course is not given. I only have to stick to scale whenever I transform a drawing.
Coming back to architecture I think I have become aware soon that with my disposition as an architect I could not express what I really wanted to. I had to turn some-where else. That is why a detour over the arts happened, which has again led to architecture. I have come back with the scale of this 'architecture-related art'. Therefore the current drawings are sketches developing into objects within a long process. These objects are then part of buildings or architecture as such.
More interesting is the question why the artist turns towards the theme of 'baroque'.
I don't know the precise answer but let me find an essential context to illustrate the use of these rhythmic inspiring shapes: the geographical outline of the continent Africa can be shaped into an architectonic design.
The upper part of the human thigh bone, the largest human bone, forms the frame for an architectural draft consisting of three circular spaces, which are interrelated, as well as side rooms, a structural network of entrances, secret staircases, window-openings and inscrutable narrow empty spaces.
A further central space, whose configuration conveys baroque rationality turns out after a long reflection to be a strange oblique ground-plan-section through a human skull.

It is a fictitious section through the skull bone; The resulting segment is broken up into a precise tangle of lines, which seems to be structural but does not contain any structure but spatial depth into the projection of a cupola with no specific direction. It is accurately drawn and realisable as a construction.
The aggressiveness which is expressed in the fusion of body and machine both turns against the body itself - that is inwardly- and against the opponent; it originates from the body. The body turns into a weapon as well as into a wound at the same time. Thus the function of aggessiveness is defined to some extent, namely that it does not only maim the one who is hit by it but also the one who exerts it.
This also refers to the machine fusing with a human being.
Whether man uses the machine as an instrument of his aggressiveness, or his exertion of power or whether it is forced on him in an aggressive way- in both cases the machine takes hold of man. It subjugates the shooter as well as the victim-yet in a different way. Both are instruments of the machine's systems.
W.M. P. knows a lot about machines, engines. Does he love or hate them? This is not a question of alternatives, of contrasts. Is P. a critic of motor-fetichism?
No, that would be too simple and probably also inaccurate.
P's drawings are visions and at the same time real experiences: the 'fusion' with the vehicle, the machine, turns into a biological event. The coitus man-engine creates monstrous creatures, a 'Pandaemonium' of man-engine androgynes for the spectator, the birth of a new being for the wizard. Disgusting objects between legs for the onlooker symbolise man's 'wedding' with the apparatus for the insider.
It is a coitus performed hour after hour with a fabulous virile power voluptiously, groaning, obscene.
Is there an equal satisfaction to the human partnership, the same poetic charm with the same ecstasy?
G. Feuerstein
B. Widder