Page 28 - Studio International - April 1974

PHENOMEN- The main themes of this text by Rinke — it
could be lyric, statement and philosophical
principle at the same time — are time and the
OLOGY OF A man existing in it. It is an attempt at
formulating, in clear and simple concepts, the
TIME-SPACE immensely complicated mechanism of human
perception of time and the actual progression of
SYSTEM time.
The correlate to time appears to be space in
which man is experiencing time. Rinke does not
describe this space, he makes it develop
indirectly before our eyes by referring to
movement and direction (to move forward,
backward, in the same place, etc.), when this
space may be both outside and within a person
(the future is in the environment of a person, the
immediate past is within the person, etc.)
A person walking forward, who moves on in the The cognition of the fourth dimension of
present towards the future, leaves the past time is a matter of course for scientists in their
behind. If this person goes back, the future at everyday work. For human experience, however,
that moment is the exact opposite — there where it remains in its deeper sense. Our perceptions of
the past was before. The present from its own the different dimensions are incorrect and
standpoint moves with the person, developing programmed wrongly, we experience our world
an enormous speed. If the person remains still in a chaotic manner. Man does not know where
this progress is not apprehended from outside. he is, he is losing his system of coordination.
Since at this moment there is no exterior This manifests itself in wrong behaviour and
moving, the future lies in the person's disturbed reactions. Rinke : 'I have come to
environment. The very recent past is implied by realize that an art can only be created by
the person — the more remote past is all over the introducing clear relations into our complicated
places where the person has been from birth. reality and thus reduce distorted conceptions.'
The past before his birth can only be The creation of this clarity necessitates a return
apprehended badly. All points of a person's to a kind of primitive state, to total innocence
past were once considered as future. Passing which would permit us to progress via the most
these points in review, they are called passed simple, elementary human forms of behaviour
future. If this person in the process of time to systems of increasing complexity:
retouches or re-experiences certain points, the Starting point
same points may contain all three tenses — past, sculptural act
present and future. Certain points also may be as precise naming
inheritable, caused by generations of naming by pointing
stationariness, the place of the parents, from one's own experience
ancestors or descendants. If this person proposition
consciously moves towards the future against call
the normal course of the present he may momentary expression
interfere considerably with it by changing as bodily signs
direction or by obstinate movements. There stand point
remain restless ways bursting out in all as stand
directions with unconscious people, these ways to stand
remain quiet leaving it to chance. Also a standing
restless, critical person may force himself to be taking stands
quiet or convince himself he should take a quiet frontal
course. Sometimes the process from present to directly opposite
future, leaving past behind, is disturbed by as point of contact
unexpected coincidences. In this moment past standing in time
and future precipitate into the present and as point in time
amalgamate — the state of timelessness has from any stand-
started. We do not have a sense organ which point in all directions
enables us to perceive this timeless space. If we as central point — zero point
really work on it, such an organ will eventually as starting point (Klaus Rinke)
develop from mutation. Rinke names, shows, indicates that the
Klaus Rinke language of his body is transformed into a
sculptural act, his gestures become codes of a
(Left) Eye, eyes, nose, mouth, right ear, left ear, primordial secret language. A perfect model for
forehead, chin
From the primary demonstration 1971 the identity of concept and gesture is the 1970
Naming by pointing work Mutations (Tate Gallery, London). Rinke
(Opposite page) Looking at oneself, to look, to look postulates that it is clear to him that 'actions
over, to look at oneself above all
From the primary demonstration 1971 produce mental reactions and thinking leads to
Photowork actions in the sense of a continuous reciprocity.
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