browsing the major artistic expressions of contemporary art for more
than ten years and, while traveling through the world in their stylized
pink motor home, EVA & ADELE, living icons of contemporary art,
became known, recognized, popular figures. Considering that everything
that they do and are is a work of art", they develop an outstanding
production, based on ideas of permanent interchange with the public,
in a real symbiosis between art and mass culture, between public and
private life, ignoring all barriers or frontiers: these are the "Grenzüberschreiter
" EVA & ADELE.
Like angels, EVA & ADELE don't have a past or a history, if it
is not one that we share with them, and belong to an indefinable type,
between masculine and feminine, refusing all categorization: OVER
THE BOUNDARIES OF GENDER.
In the same way, EVA & ADELE don't establish separation between
daily life and artistic creation, making themselves up and dressing
every day as auto-stylized living sculptures, as one sees them at
their public appearances: ART IS LIFE AND LIFE IS ART.
WHEREVER WE ARE IS MUSEUM - EVA & ADELE's museum is in essence
public, in public space, but it duplicates itself in a more intimate
dimension when one takes into account the deep, impenetrable and almost
introvert work of the artists in creation - in a quest for the permanent
balance that allows them to maintain and to give life to the mysterious
aura that surrounds them.
"Wherever we are is museum" - this is one of Eva´s
and Adele´s few, though often repeated statements. Its formulation
is altogether unusual, and we cannot quite come to terms with the
somewhat Germanic construction and the missing indefinite article.
Correctly, it should read: "Wherever we are is a museum",
or, better still, "A museum is wherever we are". What is
even more irritating, however, is this artists duo´s seemingliy
arrogant claim to museum status. But both the grammatical aberration
and the assertion of the statement are central central to what Eva
and Adele have now been propagating and practising for many years.
Their notion of a ´museum´ has to do neither with a building
nor with an institution, but is rather to be understood in the original
Greek sense of "mouseion". In Greek antiquity, the word
"mouseion" referred to the sacred temples and groves dedicated
to the Muses, the goddesses of arts. As fate would have it, and as
the ancient myths recount, the Muses inspired the arts of music and
poetry, indeed they were several in number, whilst the visual arts
remained unprotected, coming away completely empty-handed, as it were.
Not even among the liberal arts as a whole - Grammar, Rhetoric, Dialectics,
Arithmetic, Geometry, Music and Astronomy - was there a place for
the visual arts. And so fate has finally decreed - and better late
than never - that the Muses Eva and Adele should make up for this
shameful oversight by lending the visual arts a helping hand with
their claim to recognition as a faculty of the liberal arts in their
own right. And since there is a general lack of sacred temples and
groves, Eva and Adele focus their ´museum´on public places,
where they attract the attention of, and meet with, the members of
public; indeed, it is this personal confrontation and exchange which
is the very essence of their "museum".
It was assumed, for quite a long time, that these eventfull meetings
were confined solely to the art scene. There was not a single important
event on the art calendar at which Eva and Adele did not make their
appearance, wether Documenta in Kassel or the Biennale in Venice,
wether art fairs in all parts of Europe or the Berlin exhibition ´Metropolis´,
the last-mentioned event beeing - astonishingly, in retrospect - the
one which, in 1991, sparked the whole thing off, that is to say, inspired
the basic artistic concept of Eva and Adele. And wherever these two
strange, extravagantly dressed baldheads appeared, they would inevitably
steal the show, even where the gathering of art disciples was at its
most sophisticated and exclusive. Meanwhile, however, it has become
obvious that these meetings can take place with all kinds of people
and in every conceivable situation, on a remote camping site in the
Peloponnese or in a plane to New York, in the Berlin grocer´s
shop where Eva and Adele do their shopping, or in the underground
on their way to their next meeting. "Wherever we are" -
that means anywhere: in the street, in a bar, in a public lavatory
and, of course, in any of the Meccas of the art world. No matter where
we are, we might readily chance upon Eva and Adele, though this meeting,
or much rather its consummation, will largely depend on wether we
are willing to take them up on their offer.For in the final analysis
it is not so much the geographical location as the situation and its
dÈroulement which constitute the essence of their ´museum´.
What is most important about the process is that we do not merely
register the presence of Eva and Adele - as we do in the case of the
hundreds of people that cross our path every day - but rather become
aware of them. In other words, they must attract our attention. It
is a moment of attraction which both presupposes our alertness and
sympathetic curiosity and, by the same token, sets an interactive
process in motion.