How are artist legends made? Visitors of the exhibition can learn this for themselves, and become part of the production in the midst of large-format scenery paintings. Against this backdrop, created by Jankowski for the theatrical piece „Kippenberger! – Ein Exzess des Moments“, produced in 2013 by Angela Richter at the Schauspiel Köln theater, he has produced a new film project that re-enacts eight stations in the life of Martin Kippenberger. Jankowski developed the plot and the script together with a team of scriptwriters and TV developers from Singapore.
He is fascinated by the blurring of historical reconstruction in the re-enactment format of contemporary historical television features, further reflected in this case by the perspective of another cultural milieu. Jankowski completes a medial circular argument of another kind in his work „Chinese Whispers – Neue Malerei (Van Gogh I-X)“ from 2015, in which the artist had Tableau Vivant selfies of Van Gogh self-portraits that he found on the Internet transferred to canvas in their original Van Gogh format by Chinese copists. The involvement of the artist genius with itself is subjected to a media game of Chinese Whispers. Detached from the original, the ten works clearly show how roles and responsibilities are inverted in the media world: Fame and genius become globally negotiated loans.
Jankowski connects to this in a “TV commercial” for himself: in an appropriation of a video work by Chris Burden (1976), Jankowski lists a number of the most significant artist geniuses, from da Vinci to Picasso, only to self-mockingly add his own name, plus a laconic comment: „Und später mal ein anderer Schlucker“ [to be continued by some other poor devil]. The “TV commercial” will be broadcasted in Berlin cinemas during the period of the exhibition.
The reference to the construction site [„Baustelle”] referred to in the title is met conceptually with the „Großen Geste“ [grand gesture] on the HaL building front. The colored aluminum lettering was developed by Jankowski in the context of the art-in-architecture competition for the – as yet unfinished – BER airport. It refers to slogans taken from an extensive dossier compiled by an agency contracted by the building principal, plainly delineating the art’s desired function: Requested was „an important visual and emotional point of reference„ and „the art should make a point, here “. Jankowski shows the arbitrariness of the require- ments for the site-specific installation and the enactment of emotions of „transit“. It turns into a meta art-in-architecture project once he applies this work to variable locations and not only to the new airport. At HaL, Berlin as a locus for art is addressed during Artweek.
These works reference the connections between historical construction and the socio-political appropriation of art: the legend of the artist and the public space present themselves as a social setting for projections, as a „Baustelle“.