Hot Images – mimetic – iconic 6
Digest of a conference with slide projections in 1992 at the Nobel Library of the Swedish Academy in Stockhlom
Hot images shine up and disappear. They are part of the images which enter us regularly. They are hot for some time and cold afterwards. A hot image is obsessive.
Mimetic images seem innocent. They are narrative, they can consist of many elements. On the contrary, iconic images can be dangerous, being a concentrated amalgams of meanings, compressions of power.
Kurzfassung eines Dia-Vortrags, den ich 1992 in der Bibliothek Nobel der Schwedischen Akademie in Stockholm gehalten habe. Zum Englisch üben.
DIE DIAS:
1. The Aachen Cathedral
2. Robert Indiana, Love Rising, 1968 + Erik Bulatov CCPC 1988
3. Andy Warhol Brillo and Campbell Boxes 1964 + Erik Bulatov Perestroika 1988
4. Tom Wesselmann Great American Nude 54 1964 + Ivan Tchuikov The great bathing nude 1969
5. Malcolm Morley Race track 1972 + Ilya Kabakov Controlled! 1983 both Ludwig Collection

6. Werner Tübke Part of the monumental Painting in the Panorama of Frankenhausen 1988 + Painter Urban “Sun dogs” (a halo event display) over Stockholm April 20 1535 copied 100 years later Royal Court Church Stockholm
Space transfer can be comparable to time transfer. Urban´s painting is as authentic as its place; it depicts a story in which he has taken part, the miraculous celestial spectacle is shown as a praise of the almighty God. On the contrary, the contemporary painter Werner Tübke moved back into the 16th century, his identification with the image is ficticious, and so is the identification with place where it is shown; now more than before: the Panorana of Frankenhausen was meant to be a National Monument for the East German State praising the victorious struggle of communism against capitalism in images of anticipation of the confessional and feudal class struggles of the late Middle Ages.