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68 | 1999
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Conversation between Gottfried Bechthold and Hans Schabus Hans Schabus: ... Someone else will have to pull the trailer now ... It's like a rucksack. What I really wanted to do was send a film through the trailer. The rear window is like real cinemascope. The projector at the front in the wall, the loading space as a cinema without any viewers (because they are out in the rain), and the rear window as the projection screen. A travelling cinema. Meanwhile, "Anton" is enough for me. Gottfried Bechtold: Yes, the window in a car is of course great because the landscape passes by; that's all you need for a perfectly good film. Schabus: Being drawn away – to wherever – seemingly without any motivation. In the sense of an appendage. There is a making of "Anton" too. I recorded the process of incarnation in a Turkish garage on super 8. A festival of the makeshift: from a cut from the cab to the loading space, driving with half a car (James Bond Turkish-style), right up to the underseal. "Anton" got better and better. Later, Franz Reisecker did the music for the film, too. Bechtold: Do you see the car as a sculpture? I always used to see the car as a sculpture, but I don't think about it much any more. My "Betonporsche" ("Concrete Porsche") is a kind of comment on this, in a blasphemous sense. Schabus: Motion, acceleration and speed and – in contrast – sculpture. Static, heavy, bulky. As a sculptor you dream of a lightness and four wheels are a great help. (...)Bechtold: Paolozzi was one of those guys who used to drive around in England in World War II jeeps, and once he wrote an article on the shape of this jeep that the Americans shot back with. And he claimed that the jeep had everything you need to move a static object, namely the right angle and the wheel. What he meant was the axis that the wheel turns around: in perfect centre and balanced. And this manifestation is important because the right angle and the wheel, beyond all electronics, are the most important components of this thing. And these are the key primal characteristics because this is the link to the Egyptian cart, for example, or other things that have been around for ages and that serve the purpose of transportation. I like the profane, banal aspect of the car. That's also the reason why I focus on this in my work: because it isn't really an artistic starting point. Not like a tree or a lake or a landscape. These things are so weighed down, they are almost automatically art. The car, on the other hand, seems to be bound to a particular purpose, it is utilitarian. Schabus: A car is a perfect inward space. Every centimetre is defined and the field of action is clear-cut. Five centimetres pedal distance and easy movement of the steering-wheel make the physical effort required for movement extremely easy. From the outside, traffic is incredibly brutal and aggressive. Bechtold: When you consider that you can do so much, go straight from 0 to 200 kph just by pushing the pedal or moving the steering-wheel, i. e. with a minimum of physical effort. That?s so extremely artificial. A former manager of Ford once wrote a pretty good piece about my works, although he found it completely absurd to take the car as an artistic motif. Experts in the car production sector often don?t realise what an incredible object they are making and they absolutely refuse to see it as art. (excerpt)
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