Fundort Dachboden [Location Attic], status 1993. Photo: Franz
Schachinger
[Location Attic]
Site-specific installation
Wood, iron, aluminium, Thermoclear, strip lights
Circle diameter: 1,040 cm
Design 1990, execution 1991−1992, strip lights added in 1993
Room: attic of the circular wing
At the end of a long exploratory walk around the castle, STANISLAV
KOLÍBAL reached the attic of the semicircular south wing. The structural
interventions over the centuries had amounted to a random configuration there
that bears an astounding similarity to the group of works [developed by KOLÍBAL
in 1988] of ‘drawings’. The ‘drawing’ encountered in Buchberg is defined by the
semicircular and rectangular spatial limitations of the attic room, by crossing
iron clasps, by a hefty horizontal and a thin vertical wooden beam, as well as
a brick-built chimney.
Over this ‘drawing’, as a kind of interpretation and appropriation of the
existing situation, KOLÍBAL developed the model for a ‘construction’. The large
circular wooden plate references the semicircularity of the room; squares, rectangles
and semicircles are derived from the positions of other elements; the lines
highlighted by aluminium profiles reproduce the clasps covered by the base
plate. He did not change or manipulate the original ‘drawing’ in any way; it is
– though partially concealed by the installation – completely preserved.
The circular base plate of the Buchberg ‘construction’ rests on a recessed
pedestal, which makes the construction appear to hover over the floor.
Aluminium profiles lie loosely on the vertical partitions; the woodworm-riddled
beam holding the ceiling of the room beneath is encased in white plastic panels,
the brick chimney in contrast is coated in surfaces of black sheet iron. None
of the vertical elements is taller than 100 cm. At no point does the installation
enter into a relationship with the existing structural elements. KOLÍBAL ensured
that the conceptual context between ‘drawing’ and ‘construction’ is clearly
legible yet did not integrate the old in the new but emphatically separated
them from one another; as a result, he achieves the impression of a state of
suspension between integration and otherness. This balance is enhanced by the
use of widely differing materials: they range from the roughly planed wooden
planks of the bearing plate and black and rust-red iron, which reference
aspects of the attic, to sheet aluminium and transparent plastic to the immaterial
lightness of the blue-glowing fluorescent light. Another characteristic
consists in the contrast between the precision of the new construction and the
aged and weathered condition of the attic: the broken screed of the floor, the
weathered mortar on the walls, the centuries-old roof truss, etc. The resulting
tension between geometric and informal design is not only characteristic of the
‘drawings’ with their process-related corrections and blurring, but also
constitutes a fundamental theme in KOLÍBAL’s oeuvre.
(Revised excerpt from the text by Dieter Bogner in KOLÍBAL RAUMKONZEPT
BUCHBERG XI, 1994)
First presentation in the context of the Buchberger Sommer 1992 [Buchberg Summer 1992]