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The break is over. The silence returns in the auditorium. From the twilight of the dimly lit scene, an odd silhouette flakes off, raising it to a gnarled monologue. In the schistose dialect of Schwyz, it resurrects a desolate world where each horde must subordinate itself, because "Gruppä" is what it is …
In the Ticino theater of Wädenswil, visitors live a wave of emotions in this evening of April. Andres Lutz aka dr. Lüdi goes with his new show "Lüdi goes to the peat bog" in the serum of social media. We communicate until the world collapses and the new glory winds up again in Neolithic darkness.
How does Andres Lutz follow mobile communication? "It sucks," he replies frankly, as when an interlocutor "every three minutes pulls out the phone to show a picture or a Wikipedia call". Seen in this way, his satire is, as he says, "born of pain".
Andres Lutz uses the tools of an unofficial joke to bring back his freedom. On stage, he plays playful games, which makes us laugh, without overemphasizing the seriousness of the question. He maliciously declares: "The twelve hours have always been."
Andres Lutz is a multi-talented Swiss cultural institution. He is an interpreter, an artist, a musician and a linguist, whose work is blended with artistic attributions. You must think of it as a plural. On stage, he passes through all the registers of the art of words. With a playful charm, it is sometimes absurd, sometimes bearish, sometimes naive. He drives the joker to the extreme inimitably.
This comic talent is also noticeable when talking in your kitchen. He continues to change between dialects when he tells stories. He can talk to (almost) all – an heir to his rural environment.
He was born 50 years ago in Wettingen AG. He grew up in Uznach SG and went to secondary school in Wattwil SG. Family ties lead to Bern and Graubünden. From all directions he has been so linguistically inspired. "I think the variety is beautiful," he says.
1996 was a twofold turning point in his career. With Gerhard Meister, he forms the cabaret duo "Bringing Chairs", which still enjoys today a legendary reputation. For his utmost nonsense, he was awarded in 2000 with the Salzburg Bull. The artistic collaboration with Anders Guggisberg began the same year
. The art was the goal of Andres Lutz from the beginning: "I knew it at the age of sixteen." But he dropped it slowly and learned apprenticeship at the Kunstschule F + F in Zurich. But "since 22 I am an independent artist. I've never done anything else, "he says," I really wanted to. " This is how he maintained his unconditional independence.
From the beginning, art and cabaret complement each other. Intensive tours with "bright chairs" provided a livelihood, while art has retained a more experimental character. When "Gull Chairs" was disbanded in 2003, attention has focused on the art and the link between Lutz & Guggisberg has become a hallmark in the art world.
This connection has already lasted 22 years. "I do not understand very well," laughs Andres Lutz, but after so much time, "in many ways, we are an old couple who develop a common identity."
In their art, they share a preference for them worthless things such as rhizomes, woods, plaster, lost property or plastic parts, which playfully combine them in all variations in the facilities , sculptures and images. "I have a love and passion for the materials used," he repeatedly points out, "that tell a life and a story."
The borders are blurred: "The highs disappear and the bass become high". The last work, Il Giardino, is typical of this. Lutz & Guggisberg finished this spring for the Collezione Maramotti in Reggio Emilia. It is over-painted photographs depicting the remains of a shared garden in the Zurich agglomeration. This includes four sculptures that they composed of locally found materials. "Chance plays a role, it's a mix of chance and work."
In addition to the ecological aspect, an artistic aspect plays an important role in this concept, ensures Andres Lutz. "As an artist today, you must always feel that you can reinvent something." It's an illusion because "art always means recycling" – from materials as well as patterns.
at this often schmacklerischen hunting for the new, with the Lutz & Guggisberg can do little. They prefer to search relentlessly for the archaic, turbulent and raw forms which, in their art, often have a surprisingly fine form. The grandiose working group "The great invasion of peoples and furniture" illustrated it in the summer of 2017 in the abbey church of Bellelay.
As much Andres Lutz loves creative collaboration, solo performance and franchise are so important to him The thread has remained in the audience. These are elaborate productions that evolve over the months, so that they choreograph subtly on stage and at the same time seem sometimes improvised. "I do my programs for people who sometimes feel like they do not have a permanent glimpse, but in the end they are even deeper." If that succeeds, it's a real pleasure. "I play on stage" So he finds it frustrating when, in retrospect, he simply hears that he's a "funny spinner." But why give up the stage? If someone like Andres Lutz rejects the mainstream , he must endure such a thing.
Finally, he quotes the philosopher Hartmut Böhme from his memory: "It's not that the spirit lives forever and that the body dies," That sounds comforting for an artist like him, who brings life back to dead matter
At seven minutes past five, the conversation ends in the kitchen
Author: Beat Mazenauer, sfd (SDA) [19659021] / * <! [CDATA[ */
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