Installation 2013 Kunsthaus Baselland, Audiotext (4’20”): Sampling of textfragments of Hitlers speech to crusade Russia, 1943 Audiotext spoken by: Anna-Katharina Müller, Mural of videostill composed of 800 fragments, 300×200 cm – Source: Filmframe of italian Wochenschau to Hitlers visit in Rom, 1938, Source Youtube Audiomastering: Ravi Vaid, Studio LIFT Zürich
[…] We are ruled by capital: A small group of people, detain an imesurable amount of asset. Thus, this small group of people is entirely autonomous and free, which means they have liberty, and therefore economic freedom. With this economic freedom, this group of individuals retain the freedom to acquire capital, to employ capital liberally, to be liberal their acquisition of capital. Their understanding of democratic liberty is to be free from governmental supervision in the appropriation of capital and to be entirely free from any governmental control.[…]
Extract from the audiotext
After the Grand Entrance is once again a staging of a speech. The visual material is taken from a choreographed demonstration of amassed military power. With this material an ornamental backdrop is created against which, upon entering the installation, the viewer will be implicated – they will have entered the stage. That is not to say that the scenario is necessarily one of performer and audience, Biermaier’s installations generate uncertain spaces that have something in common with a poorly lit and neglected archival space as well as a theatre set. Here spoken text as the communicator of powerful ideas and of influence is seen as an infinitely malleable device, in and of itself neutral, capable of good and evil. By creating a before and after situation, Biermaier raises the question wether rhetoric fulfils its own purpose, or that we allow it to: Biermaier’s 2010 work Before the Grand Entrance involved creating a dramatic staging for a text that combines extracts from speeches given in Germany during the Third Reich, the German Autumn of the late 1970s and more recent responses to the attacks of 9/11. This work not only weaves the dense texture of the speech, but also plays with the possibilities of being either its audience or its orator.
Extract of text by Aoife Rosenmeyer 2013