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- Author Jan Hoeft
- Date of production 2015
- Dimensions height: variable, width: variable
- Author's designation none
- ID no. BS/1093
- Availability outdoor exposition (Błonia, Kraków)
- Acquired date 2015
- Object copyright Bunkier Sztuki Gallery of Contemporary Art
- Digital images copyright CC BY-ND 4.0 Attribution – NoDerivatives 4.0
- Digitalisation RPD MIC, Virtual Małopolska project
Jan Hoeft initiated an artistic intervention taking place on the border of visibility: in the middle of a vast lawn in Kraków’s Błonia Park, he placed a ten-metre-long sculpture, made of stainless steel, deliberately resembling a scaled-up barrier (easily restored if necessary). Over its frame, a white and red scarf was slung, reminiscent of the colours sported by the fans of the nearby football clubs, Cracovia and Wisła. In place of the club’s name, a phone number was embroidered, the use of which resulted in drawing the caller into a remote performance, following the scenario prepared by the artist.more
Jan Hoeft initiated an artistic intervention taking place on the border of visibility: in the middle of a vast lawn in Kraków’s Błonia Park, he placed a ten-metre-long sculpture, made of stainless steel, deliberately resembling a scaled-up barrier (easily restored if necessary). Over its frame, a white and red scarf was slung, reminiscent of the colours sported by the fans of the nearby football clubs, Cracovia and Wisła. In place of the club’s name, a phone number was embroidered, the use of which resulted in drawing the caller into a remote performance, following the scenario prepared by the artist. The sequence of questions asked to the caller by the call-centre staff was intended to confuse them and lead to a change of roles between the person asking and responding. It is worth emphasizing that individual elements of the work placed in the public space were not marked as artistic objects. After the work had been around for several months, Hoeft created anti-documentation to accompany it – a collection of materials for exhibition in a gallery space, which negates the objective nature of the documentation – blurring the boundary between the real and fictitious manner of the influence exerted by the intervention. Among the materials there was, for example, a few-metre long, printed on a banner, background recording of an exemplary telephone performance; written reactions from both sides were invented by the artist himself. The method of displaying the banner – flowing from the ceiling to the ground and lying on the floor in overlapping folds – makes reading the full content of the dialogue impossible. Two photographs contrast with this manipulated element: one photo presents a real call-centre employee, who runs the remote performance on behalf of the artist; the second shows the sculpture in the vast perspective of the Błonia Park greenery.
In the case of the intervention, as well as its “anti-documentation”, the author puzzles audiences, diverting them from their usual habits, checking whether the viewer notices that “something is wrong in his environment” and whether they will find enough interest and patience to deepen their knowledge. At the same time, it leaves a vast space for fantasizing over the status of the work, the nature of its individual elements, and the mystery of a person who “abducts” the scarf every day. By inviting people to participate in this artistic game, Hoeft has created an opportunity to blur the boundary between what is imagined and what is real.
Elaborated by Anna Lebensztejn, Bunkier Sztuki Gallery of Contemporary Art,
This work is licensed under a Creative Commons Attribution 3.0 Poland License.
Jan Hoeft (born 1981) is a multimedia artist and the creator of ephemeral and semi-visible works, presented in the public space. He analyses contemporary global society with conceptual photography, video, and artistic interventions. Hoeft is intrigued by topics such as the obsessive need for security (Exercise, 2014; Strategic Management, 2014 and Exit Strategies, 2014) and the absurd attempt at rationally grasping even the smallest elements of reality (in the publication, All Hexagon Head Bolts and Screws According to ISO 4014 and ISO 4017, 2010). He works in a surprising way in the public space, once dropping a 900-kilogram copy of a work by Sola LeWitt outside the Karlsruhe library, next to the existing sculpture of this artist (Sculpture in the Courtyard of the Baden State Library in Karlsruhe, 2009), another time placing mysterious packages in the middle of the junction (payload, 2011) or marrying a crown symbolizing the industrial past of the city of Maastricht with hardcore music (Maastricht Hardcore, 2013). He is the author of one-man shows, among others, Curiosity Gap (Westfälischer Kunstverein, Münster, 2015/2016); he is a participant in numerous collective presentations, including, Father Can’t You See I’m Burning? (de Appel, Amsterdam, 2014) and Economy is Spinning (Onomatopee, Eindhoven, 2016). He lives and works in Cologne. The artist’s website may be found at: janhoeft.de.