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The exhibition ends of course with the beginning of the thesis. Ernst Caramelle graduated in 1976 from Angewandten Oswald Oberhuber in Vienna: a box with a bottle of wine (empty), a cbadette, a film, 23 drawings and 12 photographs, signed: Joseph Troma, one of the three pseudonyms that the young artist born in the Tyrol in 1952 had already acquired; next to the seahorse and the "Tel" (for the phone, to communicate). Because art, he says today, is always a dialogue between image and viewer – and this is one of the clever phrases we receive, guides the Caramel through its first major retrospective, which begins today to Mumok, Vienna.
For the first time, Caramelle publishes the content of the diploma thesis. Everything he should look after later, he says, was included here – the wine (with which he should paint his watercolors "Vino dramatico"), the video of "new media" television (Caramelle studied in 1974). Mbadachusetts Institute of Technology), drawing (the "fastest way from the head to the leaves", the "ultra-light gesture") – and photography, light. When he works with sunlight, which he uses for the bleaching of colored paper, he estimates the "low effort for maximum effect". With this technique, he can do something by removing something, namely color. It was "conceptually fascinating". In any case, the images are pretty with their simple shapes, mainly abstract geometric.
Playing with dice and colors
"Troma's son is playing with dice," says one of the drawings in the folder. And that's exactly what you can see on it: a boy who plays with dice, who seems to come out of the sheet, someone who stands outside, a spectator. It's great for all that work that was then right in front of him. So, how could one name this box of juvenile presumption degrees other than "summary".
This Mumok retrospective, 40 years later, is also called the "summary", developed by guest curator Sabine Folie (director of the Linz Valie Export Center, former director of the Generali Foundation) alongside Artist for over two years. A sentimental title that is explained in the work, but that will not attract the mbades. A bit envied by the German Marta Herford Museum, this year was allowed to promote its Caramelle exhibition with "very nice concept art". That's exactly what it is, very intelligent and humorous at the moment. Why is not Caramelle so famous and rich then?
"Museum Size" is the name of his favorite painting in the exhibition, showing two lurid looking guys leaning over a big red thread. The photo is of course quite small. In other words: Caramelle never wanted to produce for a "market", he appreciated the small and fast form of the drawing and the (usually) fleeting monumentality of his abstract and colorful murals which, as in Baroque, like to play with the viewer's point of view. It is only when they stumble, so to speak, that they reveal their perspective glbades. Also in the Mumok, such a vast spatial image was created, compared to the 70-meter long permanent mural created by Caramelle for the new Karlsplatz design five years ago, which is extremely simple with its simple geometric shapes.
70 meters painting on the Karlsplatz
After all, a very important work on which hundreds of thousands of people hurry each day. Otherwise, Caramelle is practically not represented in Vienna (except in the neighboring tribune of St Etienne, the Caramelle has always been represented). The Mumoks have only one job that Caramelle apparently did not want to suspend. The Belvedere nothing. Only the Generali Foundation, nowadays in Salzburg, has bought at Sabine Slide no coincidence.
Caramelle had probably been away for too long and went to New York, where he still lives today, next to Frankfurt. He taught painting at the Kunstakademie Karlsruhe for 25 years and was rector for six years. Nevertheless, the entertainment (do not hesitate to pull the bell), the poetic, the theatrical, the universal artistic (of course, there are architectural plans), the light, the ornament, the perspective, intellectually presumptuous at Caramelles So far, the contemporary incarnation of the European center. In other words, the Austrian baroque is essential in the history of the art of the actionists, Oswald Oberhubers, Erwin Wurms, and so on.
Ernst Caramelle, summary, until April 28. Monday 14-19, Tuesday to Sunday. Thursday 10h-19h.
("Die Presse", printed edition, 29.11.2018)
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