Eberhard Bosslet - INTERVENTIONEN 1982-2012 - DE-EN-ES

tached from the original to read as floor plan or piping
systems. All determining components should be equally
important and visible. A support or painting surface
does not exist, or is the wall. Each colour-form-complex
of the plasticised surf-sail cloth was sewn together
at the edges of the material. Integrated crystal clear film
material leads the view onto the “image-bearing” wall.
The sewing was made by a local surf sail specialist.
With screws or nails and eyes, the tapestries are hung
from the wall. They are usually larger than 3 x 4,50m
Basements and barriers (since 1986)
From the observation of the construction activities and
my studies of the fundamental, structural elements of
earthquake-resistant construction in the Canaries, I derived
the series of sculptures “Basement and Barriers”.
As “Basements” I created in 1986, the strip foundation-like
floor plan sculpture, using bricks and concrete
blocks as modular elements, plus pipe systems.
The “Barriers” are based on sketches and reflections
from 1984 to concrete-steel bodies and concrete-steel
areas, which were first created on site in the exhibition
space since 1985. They are mostly knee-high and
installed to block the exhibition space. They are foundation-like
structures made of concrete and steel reinforcement.
They can be removed only by demolition
after the exhibition.
Bilateral relations (1993-1998)
The realised “Bilateral Relations” were unthinkable
without the preceding considerations and work produced
about house/space/order/and structure.
With “Screebs” entitled works are on both sides of wall
mounted sleeves made of rubber or polyurethane. They
are fixed with tie rods and springs. The tie rods are inserted
into the wall through holes; helical compression
springs and anchor nuts have visual function and keep
the grid surfaces with a distance from the wall. The
“Halos” were wall-mounted, disc like aluminium parts
from mechanical engineering, sometimes coloured
painted, which are held by anchor rods, anchor bolts
and large conical coil springs through the perforated
wall on both sides. The viewer only sees one side, thus
only one half of the wall sculpture.
Organic and geomorphic sculptures (since 2001)
Without direct reference to house and construction, resulting
from the association of the cartographic appearance
of the Canary Islands in 2001, I made a biomorphic
sculpture group. “Stool Archipelago” and Island
Growth” generating their formation from the image of
an archipelago. In 2008 produced “Stump stools” were
unthinkable without the experience I had in Tenerife:
near the sea, far from relevant vegetation, I saw two
powerful stump sections. This strange situation moved
me to do the “Stump stools”, made of fibreglass, realized
on the base of known organic forms. They are
black, abstract imitated tree stumps. The individual objects
of the ten-piece group can be regrouped as well
as in the sculpture group “Island Growth” and used as
seating elements as needed.
Wrong water (since 2003)
In 2003 I begun the colour photo series entitled with
“Wrong water” with the motif of ships and boats that
are on land in urban or rural areas. Unlike the photo
series “Scrap metal & Sun” these boats on land are not
wrecks. The occurrence of the boats on land grows with
the fact of their growing irrelevance in the daily professional
use by fishermen. These boats are not near
the water, waiting for them to come back to the sea the
following day. They are located on land like fish out of
water. If they were in the water, you would only be able
see half of them. On land, now useless and pointless,
they show their true form and are in dialogue with their
foreign environment. (Page 54-63)
Single-room-house (since 2006)
In 2006 I begun the colour photo series entitled with
“One-Room-House” of small buildings in the Landscapes
of the Canary Islands. The motif: Very small
houses, apparently unused and individually isolated
in the landscape. Quite different from the big houses
and multi-functional building complexes, they are prototypes
of one architectural space. These unique buildings
are alone in a suggestive dialogue with their purely
scenic surroundings. (Page 66-73)
Eras – rain collecting areas on Lanzarote
(since 2008)
In 1982 I visited Lanzarote for the first time. I was impressed
by the idiosyncratic beauty of the island, which
is characterised by water shortage. This is also reflected
back into the appropriate structures and designs to collect
rainwater. So it was common in the past, that any
paved area around the house (flat roof and yard) had a
tendency to direct the rainwater into an underground
tank. In addition to being put on large and very large
cemented surfaces on mountain slopes, in order to capture
additional rainwater. In 1982 it seemed to me that
these facilities were still in use.
On my second stay in Lanzarote in 2006 I noticed these
rain collecting surfaces again. Most of them in meantime
were no longer maintained and cared for. The water
comes now, as everywhere, from the pipeline. I was
fascinated by the now useless surface structures I made
two interventions. These interventions emphasized the
originality of each rain collecting area, as they let these
fields become a striking eye-catcher. For the first time
I was aware that these interventions, sooner or later,
would be seen on the internet on Google Earth. This
became the case one year later. (Page 186-193 and 204-
215)
Eberhard Bosslet 2009
Translation R. Greg Haughton
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