The jacket of the uniforms workers used to wear at the publicly owned yeast company (VEB Backhefe) in Görlitz is now covering my artist’s body. The heavy, grey fabric is a reference to the physical work which was practised by the person who wore it. At the same time it marks this person as a “worker”. Those who wear the jacket are at work, are working. It was only worn during working hours. Putting it on and off marked the beginning and end of work. Amongst the production drawings of the same company I find the figure of a tube. The machines’ bodies are projected with hard and knowing lines in a two-dimensional space. In-between, the tube floats in an empty space, its drawing adhering to different principles. Tentative comprehension specifies the lines. Reluctantly, as a thought in formulation, the pencil of an unknown author touches the tube’s body. The attempt to depict qualities (i.e. the two apertures and their tight connection), denies a unique and „correct“ perspective. As the tube blends in the surroundings it contests the linear chronology of production.
“To what extent do you consider yourself as spectator, commenter or part of a social movement? […] When was the last time you went on strike? […]”, we (team2 = Irène Mélix & Theresa Schnell) asked ourselves and our culturally-working colleagues. The Freizeitklub is a place of gathering and exchange about one’s working conditions. What does it mean to do art, when creativity becomes a permanent demand on all of us? We try to draw images of a collective organization of cultural workers and form CindyCat.