Bogomir Ecker

born in 1950 in Maribor, Slovenia.
Lives and works in DŸsseldorf and Hamburg..

Bogomir Ecker
Territory B, 1998,
aluminium sculpture (44x167x123 cm) in a closed off parking area
(photography Q.Bertoux)

Territory (B)
French art lovers will have discovered the work of Bogomir Ecker in 1989 at Clisson, in a presentation of the Ateliers of the FRAC des Pays de la Loire entitled Les Gr‰ces de la nature, or at the first Grandeur nature exhibition in the park at La Courneuve, in 1993. One could define his works in terms of four common characteristics. The first would be the humour that goes into their making and which they themselves exude. The second would be the fact that they suggest something already familiar and yet difficult to identify with any precision (could it be something out of Max Ernst, a Cubist mannequin, an industrial object, an anatomical fragment?). The third would be that the sculpture sometimes looks as if it has just been left there, almost by chance, as if it has fallen from the sky like a meteorite (the title of one of his exhibitions). The fourth would be that the sculpture often gives an illusory sense of sound: by its form (an ear, a loudspeaker), or because it is full of holes or draws attention to a hollow under the ground where a noise might be lodged, it leads us from sight to hearing. A few signs are enough to create the illusion that it produces or is the medium for sound. But not at all. Whether the form is obvious (the ear, the loudspeaker) or uncertain, the sight of these pieces often opens the viewer's ears. And then every sound source of which, usually, we are not conscious, becomes audible and possibly meaningful.

the work for Enghien :
Bogomir Ecker has chosen a spot that seems designed to remain vacant (so as not to restrict visibility for drivers). This is a small perimeter between the pavement and the road, a space that is set aside. By placing there a sculpture that must look both temporary and solid, and that suggests that work is being done on the street, Ecker underlines the oddness of the spot by accenting its indeterminacy. The sculpture (part "enclosure" and part "protected" object) is there as if to provoke questions (what is this object?) while adding a sense of potential sound. The main part of the sculpture has been pierced through in the direction of the sky. This passage between an invisible inside and the outside (the street) is extremely simple and it is enough (given its temporary look) to make the spot into a strategic position. From there, we hear the sounds of the train, those of the cars, sometimes the birds or the wind in the trees around the lake. Getting the passer-by to listen is a way of more or less consciously transforming noises into sounds, and of linking this spot with its urban setting.

Description : aluminium sculpture in two parts. Height: 60 cm, width: XX cm, depth: XX cm.