Technical support: Leo Spartacus and Ben Dietermann
Skater took part on process of shaping objects and performing:
Leo Spartacus, Mery Gunes, Geovaughi Solomon, Lasse Schmieder, Alexander Hinkelmann, Marian Stucke, Sven Cuider and Ben Dietermann

Exhibition accompanied with eponymous publication:
Silkscreen cover printed at Ziggare, Heilbronn by Natalis Lorenz and Werkstatt, Stuttgart with Sarah Konjic
Interior printed at a la maison printing, Paris by Maycec
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This peeling of the orange starts with the stab of new nails into found wood - upcycled from the leftovers of past fashion shows - and prolongs into the cut of sharp metallic surfaces which were assembled specifically for the operation. The structures are activated as federative once open to direct interpretation - cognitive and physical - by their contemporary witnesses, then simultaneously spectators and actors; audience and performance. The objects exist as unique vertices that spontaneously generate action and interaction, invite interpersonal communication as common points of focus, and function as dynamic poles that reshape the space and history around them as their singularity provokes all kinds of new happenings.

As one more incentive towards interactivity, the installation doubled up as settings for the in-location "Art On Art" skate contest, a non-commercial event which temporarily awarded art prizes for applied creativity, aesthetics and execution; originality in the reading of the surfaces, interesting form, and precision of the chosen maneuver ultimately deployed on it. The context of a museum for such intense group proactivity is a testament to the importance, and a reminder of the potential of environmental inflection and appropriation. This type of utilization and resonance in significance amongst a community (in this case, directly starting with the Rottweil skate scene) extends the design of the objects towards vocabular significance, when spontaneous physicality transcends into the lexical and is rewarded in humanity, sometimes even via artifacts.

One that is tangibly born out of that dimensional reorchestration is Vutuc's eponymous publication - self- published under A La Maison Printing - that also emanates from the imminent energy of the exhibition. It collects and repurposes productions made on location - which justified the reopening of the local darkroom - and diffuses unique traces of images onto chosen textures and materials via a variety of methods and practices (including silkscreen and metal printing of film-based photography reproductions). Paralleling the open nature of the installation, the publication is as uncertain of all expectations normally tied to the representation - the apparent format of a 'book' - as it is capable of its intrinsic nature as a composition. The fidelity isn't in the detail of the depictions as it is in the authenticity of the factoring, bound to be more authentic than what can be expected of an image.

Sound is an integral consideration on the same level as the visual when both meet at the focus on metal being employed in the installation that resonates all the way into the publication.

It is the peeling of a metaphorical orange that would be in favor of showing its actual nature, as opposed to form the veracity of which would be suspended by hyperrealism, questioned by the likes of Jean Baudrillard or Guy Debord, and feed Wim Wenders' quote: "We have learned to trust the photographic image. Can we trust the electronic image? With painting everything was simple. The original was the original, and each copy was a copy - a forgery. With photography and then film that began to get complicated. The original was a negative. Without a print, it did not exist. Just the opposite, each copy was the original. But now with the electronic, and soon the digital, there is no more negative and no more positive. The very notion of the original is obsolete. Everything is a copy. All distinctions have become arbitrary. No wonder the idea of identity finds itself in such a feeble state. Identity is out of fashion."

Amplifying some angles of Vutuc's past work in Duren ("Something In Between"), immediacy is at the core of "Die Schalen Des Orangen" as deeply as the punctuational stimuli of gravity-bound skateboarding impacted the structures, the images, and the images on and of the structures as their physical activation would persist, and its markings accumulate. (In Duren, the local skateboarders had been involved in the design of a 14-meter wide composition of wheel marks.)

Here are being repurposed designs by Erich Hauser, modified towards a certain type of practical use that is up to date with the current demand and crucial importance in the role of play in the city. The staccato- singing, redundant angles of "Firecracker" and the plurality of possible perspectives on "Backside Disaster" make for vibrant terrain that incites the improvisation of interpretative challenges. It stages interaction all the while radiating more than a spectacle when humanity justifies the play as a community effort, resulting in synergy.

by Aymeric Nocus