crox 277-5, BRAINBOX2 unit 5: Bart Dhaluin, Gerd Ververs, Reinhard Doubrawa - januari 2009
1. In de brainboxzaal (grote zaal achterin) komt een houtkachel.
2. De papiersnippers (unit 4) worden in de kachel opgestookt.
3. Er komt een tafel met een projectiedisplay waarmee youtubefilmpjes op de muur geprojecteerd worden.
4. Gerd zorgt voor een enorme hoeveelheid brandbaar hout.
5. Er worden chapatis gemaakt, of iets aanverwants, en tijdens de finissage is er pannekoekenbak.
crox 344, BRAINENLARGEMENT - een project in de kubusruimte - oktober 2010>februari 2011
Plusminus 150 foto's in een speciaal voor het project ontworpen wandmeubel.
crox 350, BADABOOM - een project in de grote zaal achterin - februari>maart 2011
'Reinhard Doubrawas Blick auf die Absurditäten des Alltags ist ernsthaft, amüsant, aber nie cynisch. Er hält scheinbar belanglose Moment fest, die er für bildwürdig erachtet. Oft sind es Bilder des Verfalls, Ort und Zeit sind nicht erkennbar. Es entsteht jeweils nur' Isa Bickmann (from Special Values, Salon Verlag 2009)
Uit NEWS (Salon Verlag 2004); Interview, Maria Anna Tappeiner spoke to Reinhard Doubrawa on January 20th, 2004 in Cologne. (fragment)
Q. The "Spiegel" is a news-magazine (Nachrichtenmagazin). It presents its topics with a certain interest in sensation.
A. Further pleasures have emerged for me from this desire for sensation and the "News" project, e.g. the series "Alarm, I was there too" (Alarm, ich war dabei). These are front cover subjects or the main weekly topics. I made cut-outs in white paper of these images. The original photographs are far more sensationalist than the "News" series and often depict personal tragedy: floods, wounded people or a sinking ferry. These are title pictures that appear in other media too. I am interested how these pictures change me. How do I become part of this information and how do I then continue working with it, e.g. by communicating with friends? Where does the individual place himself in the collective?
Q. What does making pictures mean to you as opposed to consuming pictures?
A. Consumption is faster and consuming influences further consumption - or, to possibly put it in better way - how one percieves in future. Your question is important especially in the context of these fast processes. They continue to work in me and influence me. That I find interesting. I make the drawing to understand this process. I want to be able to grasp this information. We are surrounded by a lot of fast information but we live and work mainly out of the subconscious. This constitutes is as human beings and lets us react spontaneously. What is still possible when I know about all this terror? I need to build a strong wall around myself to still be able to be happy (or sane). Also personal interaction requires this blocking-out mechanism.
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