Il Gruppo del Cafe Palermo

For the first time, H.P. Adamski shows one of his rare video works in public. POEM is the result of a co-operation with Epicentro art and has been placed—an unusual feature—on the new Apple iPad.

The video work POEM addresses Adamski’s preferential topic: the process of (actively) becoming aware of one’s perception. The viewer is confronted with a close-up of Adamski’s face. On the cheeks, eyelids, and wrinkles of this face the viewer recognizes text fragments on paper shreds: schlagartig ins Licht/dann verwechselt man sie/des Sommers/nirgends ist (roughly translated to: all of a sudden into the light/then you get to mix them all up/of summer/there is nothing anywhere). Word games, a life’s notes, etc., which will mean something to each and every individual(ist).

For a decade, Adamski lived retired from the art business. All this hype being made about “young art” didn’t agree with the world of art as he so deeply experienced it. Still, in his studios in Cologne, Dresden, and Berlin, series’ of works were produced that are now received with great enthusiasm. A highly successful comeback it was for the artist when his text paintings were presented in a show curated by Jan Hoet at Gallerie Morgen in Berlin, in November 2009. These paintings that were, in September, also on display in the “Forsthaus Villa” (Swiss Art Institution) in Karlsruhe under the title “Sehnsuchtsquadrate” (i.e. squares of longing) show a complex language in terms of composition and forms as is rarely to be seen in present art.

The artist lives and works in Berlin. He made a name to himself as a conceptual artist at the end of the seventies and then, following the foundation of the Mülheimer Freiheit (Junge Wilde Cologne), he became a celebrated star painter. It was Paul Maenz who introduced the group to the world. Adamski’s works where shown in international institutions and are found in important collections.

Since 1997 he occupies a Chair in the HfBK in Dresden.

Edition of 5, BetaSP Tape + iPad (registerd, copy-protected)

Accompanying text for the video work POEM.
POEM, a video piece by H.P. Adamski.
Adamski picks up an important element of his artistic work: the process of actively becoming aware of one’s perceptions. Even back in the time of his series of “text and panel paintings,” in which he combined abstract square shapes with text fragments, he lead the viewer right into the dichotomy between rationality and sensuality.
Neugierige Quadrate züchten, quadratische Sehnsucht streicheln oder auch Blumen quadratisch atmen (which roughly translates to: To breed curious squares, to stroke square longing or, also, to squarely breathe flowers). According to the artist, sequences of words such as these are to be read like a game and “with irony, never, however, with an index finger raised.” With the respective text fragments, the artist does not refer to the object depicted but offers thoughts to be freely associated from.
In 2007, Adamski prepared a moving scene (video) together with his wife Mrs Michéle Victor for her appearance in an alienated version of “Lili Marleen”. While Michéle Victor sings, her silhouette is overshadowed by Adamski’s colossal face. He stares into space, whilst small wires in the creases of his living skin show text fragments of this famous war hymn.
In the current version of his video piece POEM, Adamski repeats the intensity of this work and integrates new text elements into the moving picture of his own face. Usually, the viewer stands spellbound before Adamski’s close-up. The confrontation of audience and video will join the text fragments so as to form a whole.

POEM corresponds to an early video work by Bruce Nauman called Art Make Up (1967).
Nauman makes up his face in front of a running camera. In a way similar to Adamski’s work, the proximity of the camera’s focus creates the feeling of closeness. The reduction to a colossal portrait increases the impression of a documentary recording. The viewer becomes the interactive “mirror” into which the artist looks to correct his make-up or to put the texts into the wrinkles and creases of his life.
Even back in the eighties, Adamski caused fiery discussions when he withdrew from conceptual art and turned towards painting instead. Now he has “POEM” implemented on the new Apple iPad, which is a small revolution in and by itself.

This act is reminiscent of the revolutionary changes happening in the arts back in the sixties. When the first portable Sony Portapak camera was developed in 1967, Nam June Paik casually invented video art as an independent esthetic means of expression. Adamski makes use, just like Paik did back then, of the new possibilities provided by the iPad.

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Edition of 5, BetaSP Tape + iPad (registerd, copy-protected)