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The way I am working I am working with different media: video, installation, photography. In my understanding the medium should be not an obstacle for the successful accomplishment an idea of the work. In my artistic practice I am especially interested in the juxtaposition of an autonomous work of art with the place different than gallery. I am going to cross over the borderlines of the exhibition space and involve non-artists in my work. In the past I have already been changing the meaning of the gallery as a place intended for showing art and at the same time using a street or a shop for staging an art event. It means that the purpose and character of the place play very important roles in my projects. In my installations and interventions I am relating to different public spaces contradicting and juxtaposing them my own commentaries. Besides this idea, I am observing my everyday life and making it also a subject of my videos or photographs. This field is more existential than the first one, but both of them somehow connected. Through them I am researching the reasons and sources of being determined. "Meader tells of a lady who, on the eve of her wedding had forgotten to try on her wedding-dress and, to her dressmaker's despair, only remembered it late in the evening. He connects this forgetfulness with the fact that she was soon divorced from her husband. I know a lady now divorced from her husband, who in managing her money affairs frequently signed documents in her maiden name, many years before she in fact resumed it.- I know of other women who have lost their wedding-rings during the honeymoon, and I know too that the history of their marriages has given a sense to the accident.- And now here is one more glaring example, but with a happier ending. The story is told of a famous German chemist that his marriage did not take place, because he forgot the hour of his wedding and went to the laboratory instead of to the church. He was wise enough to be satisfied with a single attempt and died at a great age unmarried. " (S. Freud, Introductory Lectures on Psycho-Analysis, Parapaxes) Hubert Czerepok's parapraxes. Everyone gets surprised from time to time but the most interesting surprises are those made by ourselves. Not knowing how, we do (say) things inconsistent to our expectations and/ or to the expectations of our surrounding. These activities make us laugh and confused or lead sometimes to a disaster. What's the most interesting in them, symptomatically leading to some uncertain goal, is the beginning of some, just appearing, alternative. Thus incompletely realized willings, unwillings, animosities and antipathies become real, making a beginning of something not yet realized by us. The slips of the tongue are momentary, they are based on emitting a false sound bearing tricky sense. They are sometimes, perhaps only by the kind ones, taken for the fact of mishearing. But the situational wrong activities very often appear to be unimaginable in their outcomes, compared to the ones above. Generally, they exist in time, and their noticeable consequences may become the base for shame and dishonor or, at its best, at least for surprise. It seems that the activities of some artists are like parapraxes. Let's say that an artist undertakes activities, which he cannot explain himself. As Sigmund Freud says: "it comes down to tiny irregularity of functions, to the incorrectness of psychological process which conditions we can determine". In this way, a healthy man, feeling quite well, can make a mistake when it becomes clear that he is " a bit not-well and tired, a bit excited, other things absorb his mind." Hubert Czerepok happens to forget that his goal was to show his works. An exhibition becomes a kind of a slip of the tongue that shows some unclear emotions or a brilliant (but deserved?) diversion of attention. Meringer and Mayer once divided the parapraxes into anticipations, secondary effects, confusions (contaminations) and substitutions. And thus, an artist mistakes the packaging of the work for the work itself, or he orders a holy mass and does not remember to get back to the exhibition, and the book, which was supposed to be the theme of the exhibition, suddenly becomes a fly-flap. He happened to mistake viewing the exhibition for a bus tour, but in that case, however, not only he but also its participants. It is worth adding here that in the case of C. parapraxes do not appear only in the context of his effort connected with the artistic activities, but apparently stretches into the whole of his activities. Finally, let's get back to art just to realize what, apart from the work of art, troubles his head. Well, that's what we may never know because it is very probable that he doesn't know it himself. Diagnosis is as follows: it may be something comparably important or comparably unimportant. Monika Bakke |
