Jörn Budesheim

 

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„Erörterung der Frage, warum es die Welt nicht gibt.“/“Discussing the question, why the world does not exist.“

Mixed Media, Oil on wood, size closed: 19,5×12,5×3 cm
Kassel, 2016

The thesis that the world does not exist is promoted by the German philosopher Markus Gabriel. I follow him in his opinion. I assume that a world tour will be the most effective way to improve the truth of his thesis that we live in an endless plurality.

The Outside of the Box
The Pioneer plaques are a pair of goldanodized aluminium plaques which were placed on board the 1972 Pioneer 10 and 1973 Pioneer 11 spacecraft, featuring a pictorial message, in case either Pioneer 10 or 11 is intercepted by extraterrestrial life. The plaques show the nude figures of a human male and female along with several symbols that are designed to provide information about the origin of the spacecraft.

„The Pioneer 10 and 11 spacecraft were the first human-built objects to achieve escape velocity from the Solar System. The plaques were attached to the spacecraft’s antenna support struts in a position that would shield them from erosion byinterstellar dust.
On the right side of the plaque, a man and a woman are shown in front of the spacecraft. Between the brackets that indicate the height of the woman, the binary representation of the number 8 can be seen (1000, with a small defect in the first zero). In units of the wavelength of the hyperfine transition of hydrogen this means 8 × 21 cm = 168 cm.
The right hand of the man is raised as a sign of good will. Although this gesture may not be understood, it offers a way to show the opposable thumb and how the limbs can be moved.
At the bottom of the plaque is a schematic diagram of the Solar System. A small picture of the spacecraft is shown, and the trajectory shows its way past Jupiter and out of the Solar System. Saturn’s rings could give a further hint to identifying the Solar System. Rings around the planets Jupiter, Uranus and Neptune were unknown when the plaque was designed; Pluto was still considered to be a planet when the plaque was designed.
The fifteenth line on the plaque extends to the far right, behind the human figures. This line indicates the Sun’s relative distance to the center of the galaxy.
The pulsar map and hydrogen atom diagram are shared in common with the Voyager Golden Record. (Reference: wiki)

Inside the Box
The Canard Digérateur, or Digesting Duck, was an automaton in the form of a duck, created by Jacques de Vaucanson in 1739. The mechanical duck appeared to have the ability to eat kernels of grain, and to metabolize and defecate them. While the duck did not actually have the ability to do this—the food was collected in one inner container, and the pre-stored feces was „produced“ from a second, so that no actual digestion took place—Vaucanson hoped that a truly digesting automaton could one day be designed.

Voltaire wrote that „without…the duck of Vaucanson, you would have nothing to remind you of the glory of France.“ The Duck was destroyed in a fire at a museum in 1879.

In the right above corner there is the following text written: „That’s what it’s like to be a Duck“. A reference to the famous essay by Thomas Nagels „What Is it Like to Be a Bat?“

In a compressed form the essay is about that the „How it is“ experiencing the flittermouse sonar-controlled flight through the night is not achievable by a scientific sight from the side.

The „making of“ you can find here: https://www.facebook.com/photo.php?fbid=1244259892263357&set=a.1244259835596696.1073741853.100000380751395&type=3&theater

Kassel, Oct. 2016
Jörn Budesheim

CV
Jörn Budesheim (20.01.1960)

Studierte Kunst und visuelle Kommunikation an der Kunsthochschule Kassel, arbeitet als Marketer und Designer in Kassel (D).

Ausstellungen, Ausstellungsbeteiligung (Auswahl)

  • 1981 | „Karton/Leicht behindert“ Moderne Galerie Saarbrücken, Gruppenausstellung
  • 1983 | „Vom Flüstern der Neigung zum Grollen des Wahnsinns“ Orangerie Kassel, (Frankfurt, Hamburg, Amsterdam) Gruppenausstellung
  • 1987 | „Warum gab es das nicht schon früher“, Kunsthochschule Kassel, Borstel, Budesheim, Hohmann
    Kulturförderpreis der Stadt Kassel
  • 1988 | „Hunde wollt ihr ewig malen“, Fabrik Salzmann Kassel, Gruppenausstellung
  • 1989 | „Lausige Schatten“, Kunsthalle Fridericianum Kassel, Bachler, Budesheim, Hohmann,
  • 1990 | „IMITAT, Futurismus und Rationalismus zwischen den Weltkriegen. Italiens Moderne”, Kunsthalle Fridericianum, Gruppe IMITAT
  • 1986 – 1994 | „Blaugrau bleibt Blaugrau“, U.a.: Neue Galerie Kassel, Rahmenprogramm documenta VIII, Festival di Morgana, Goethe-Institut Palermo, Stadsschouwburg Utrecht, Shaffytheater, Amsterdam, … Wanzke, Steger, Budesheim,  Die Arbeit befindet sich in der Sammlung des ZKM, Karlsruhe
  • 2007 | „Signifikantenstadel im Doppelbettzimmer“, GalerieFENSTER Frankfurt, Wanzke, Budesheim
  • 2008 | „Trashing Adorno“, Luminale in Frankfurt, Adorno Platz, Wanzke, Budesheim
  • 2014 | „What a strange animal“, Thema Tier, Online-offline-Gruppenausstellung
  • 2014 | „Passwort 3“, Handwerksforum, Online-offline-Gruppenausstellung
  • 2015 | „Zu wahr, um schön zu sein“, KunstNetz, Kassel
  • 2015 | „Der höhere, der tiefere und der mittlere Sinn“, Galerina Steiner, Berlin
  • 2015 | “Atelierrundgang Kassel”, Zu Gast bei Lutz und Silvia Freyer
  • 2016 | “Irritationen”, Gruppenaustellung Südflügel Kulturbahnhof, 387
  • 2016 | Philosophische Tiere und der Tierarzt-Praxis Wiegand
  • 2016 | Atelierrundgang Vorderer Westen
  • 2016 | 2017 „Bad Bags/Good Bags“, Reinhard Wanzke „Einmal um die Welt Tour“

https://budesheim.wordpress.com/