Synopsis
Cornelius Kolig’s “paradise” could also be examined from above. One would see an organic building-structure comprising a Sistine chapel, a pantheon, cow and pig stalls, and “a wild intoxicating garden” on a total area of 6,000 square meters.
But Sasha Pirker does not even suggest such an overview in her portrait of the artist. Instead, right at the start of the work, she jumps straight into details of how he combines art and life: already in the opening credits she depicts in poetic, nearly still standing images, the atmosphere surrounding the building while the artist explains his first thoughts on a “buildable paradise” in the late 1960s. One sees apple trees, twigs, rose bushes, foliage, and also structural elements of the complex that has evolved over decades. Here, according to Kolig’s voice-over, one is surrounded by “intense aromas of plants and intoxicating sounds of mermaids.”
But Sasha Pirker does not even suggest such an overview in her portrait of the artist. Instead, right at the start of the work, she jumps straight into details of how he combines art and life: already in the opening credits she depicts in poetic, nearly still standing images, the atmosphere surrounding the building while the artist explains his first thoughts on a “buildable paradise” in the late 1960s. One sees apple trees, twigs, rose bushes, foliage, and also structural elements of the complex that has evolved over decades. Here, according to Kolig’s voice-over, one is surrounded by “intense aromas of plants and intoxicating sounds of mermaids.”
Gallery
