Das Geplante scheitert, das Hingeworfene wird angenommen, sagt Adriano Sack und fragt Erik Schmidt in seinem Text zu RETREAT: In deinem neuen Film \u00bbInizio\u00ab h\u00e4lst du ein Schild hoch mit der Aufschrift \u00bbParadies\u00ab. Welche Vorstellung spielt das Paradies in deinem Werk und deinen Tr\u00e4umen?
\nErik Schmidt: The attempt to stage life as a paradise is an important driving force for me. When I go somewhere, I feel this total fascination, even if it's just a palm tree beach. Of course, I'm not talking about paradise in the religious sense. Rather the state of bliss on earth.
\nAS: You shot Inizio in the garden of Villa Massimo in Rome. What does this place mean to you?
\nES: It's a very beautiful garden. But the film is not set at Villa Massimo, but in an undefined location. At the time of filming, Italy was in lockdown and we needed a private retreat.
\nAS: For the first time in one of your films there is a kind of alter ego, the young actor Christian Erdt. Is there no \"Inizio\" for the older artist?
\nES: No. Or maybe it is. There is a new beginning, but there's no going back. The dress the other person slips into doesn't fit me. I have to continue where I am.
\n...
\nAS: \"Inizio\" is the companion piece to the film \"Fine\", which you shot in Olevano near Rome. \"I am a man of the world\", the film begins as the actor walks towards a house of the dead. What does this thought mean in a small Italian mountain town like Olevano?
\nES: It fits. Don't people in small towns always think that they are men of the world? Anyone who really is one wouldn't think that.
\nAS: In \"Fine\", the artist pours oil over himself. This is a recurring motif in your films. You are constantly undressed or dressed, your body is bathed, massaged or doused. What haven't you done to yourself yet?
\nES: No tattoo. No holes. Nothing that leaves permanent damage.
\n...
\nAS: You painted the Westphalian mixed forest, olive trees in Israel and palm trees in Asia. Is there a connection?
\nES: There is a formal and structural connection. Plants always have a centre. I have taken this to the extreme with the palm tree paintings: they are square and in the centre is the nut. Beyond that, however, I am incredibly free when painting trees. With a portrait, you're still somehow committed to the face. Nobody can understand that with nature. Especially when painting over photographs. As a painter, I can act completely freely. It's almost like action painting: I throw colour, it runs and drips. The palm tree in my paintings is also battered. But it remains recognisable. (Three short extracts from Adriano Sack's interview with Erik Schmidt)<\/p>\n
Exhibition:
\nKunstraum Potsdam, 18\/9 - 30\/10\/2022<\/p>","protected":false},"excerpt":{"rendered":"
Exhibition catalogue, Kunstraum Potsdam
\nTexts (German\/English) by Traudi Messini, Pier Paolo Pancotto, Bj\u00f6rn Vedder, interview by Adriano Sack with Erik Schmidt
\n168 p. with 120 colour illustrations
\nFormat 26 x 29.5 cm, embossed cloth binding<\/p>","protected":false},"featured_media":5158,"template":"","meta":[],"product_brand":[],"product_cat":[95],"product_tag":[],"class_list":["post-3743","product","type-product","status-publish","has-post-thumbnail","product_cat-vergriffen","first","outofstock","taxable","shipping-taxable","product-type-simple"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t