2779 18x14a.jpg

TITLE: #2779
Subjective environments
A picture exists in its own time
Its own reality
And equally and parallel in the time and reality of the viewer
At the moment of its viewing -
Within the viewer’s own reality
So a picture is a heteropia and
Also a Utopia (according to Foucault)
An external and internal space
Because the picture exists in its own time and space
And parallel, as a counteraction, to the position of the viewer
So a picture is a mirror and also a boat
And what is a window?

2787 39.75x31.5a.jpg

TITLE: #2787
You are in the way of your work
You want it to become something
The work is not thinking
The work does not ask you to perform
Thoughts have a life of their own
They are not created by you
Don’t use thought where it does not apply
Your practice has an impact on others

2800 18x14a.jpg

Joining together what belongs together

When we look at art in a gallery or a museum, we spend at most 15 seconds with one work before we move on to the next one. 

If you want to build a relationship with a work you need to be open and present, and you need more time.
The painting that seems the most challenging, irritating, boring, ugly, sweet- -the one you think you already know or the one that seems too far out - is the one you pick.
Sit in front of it and look carefully.
First you will see some paint and stuff on a surface.
Then slowly, with patience, openness, curiosity and presence, you will go beyond.
And the painting you least wanted to talk to will talk to you.
Listen carefully, absorb with all your senses and let the mind create a new experience.

This is the moment when a bit of paint and stuff on a surface transcends into Art.
Art does not exist without your active contribution.
Only when you let the outside experience enter without judgment or agenda in open awareness and with your willingness to let the new mingle and melt into your existing experience, then the magic can happen that we call art.

The resulting artwork will be invisible, but very present and very real!
And (then) another artist will attempt to create another picture, triggered by such experiences. And someone will sit in front of it and create a work of art, which will remain invisible until the experience gets picked up again and realized.
It is a continuum.
Art can not exist on its own.
It requires the active, mindful contribution of a participating experiencer.

The question of authorship will become irrelevant. The boundaries of creative property, me my mine, will become more vague and eventually crumble and dissolve. It is all a continuum of stimulation and response. The one does not exist without the other.
That’s why picture-making or any creative endeavor is so important to show us the interrelationship of our senses and our minds, the impossibility of the individual self. Our interconnectedness with all that is and what is not.

The artist myth is a hoax, inspiration is a process, creation never stands alone, individual does not exist (independently), everything is interdependent.
The experience and the experiencer are one.

All art is the result of a conversation, a dialogue, a collaboration.
My picture is not my picture.
My Picture is not my ART.

If my breath is the anchor for my meditation then my work is the ground(ing) for it. For the anchor to hold it needs to be grounded.
If the ground is too loose the anchor won't hold.

The practice of art is an exercise in the cultivation of mindfulness.

BERND HAUSSMANN born in Tuebingen, Germany, has been a US resident since 1994. 

He divides his time between his studios north of Boston and in western Maine where he also works with his wife Anne on a 400-acre nature project. 

Haussmann exhibits nationally and internationally, in galleries and non-profit venues. His work has also been visible at numerous art fairs such as Art Hong Kong, San Francisco Art Fair, Art Santa Fe, Texas Contemporary, Dallas Art Fair, Miami Project, Toronto International Art Fair, Los Angeles Art Show, Art Miami, and others. 

Haussmann's works are in many corporate collections and in a number of museum collections including: 

·         Art Museum of South Texas

·         Danforth Museum of Art, MA

·         Hunterdon Museum of Art, Clinton, NJ

·         Longview Museum of Fine Arts, TX

·         Lyman Allyn Museum of Art, CT

·         Montserrat College of Art, MA

·         Museum der Stadt Reutlingen, Germany

·         Provincetown Art Association and Museum, MA

·         Stadtmuseum, Tuebingen, Germany

Haussmann embraces the dialogue with his audience and the inclusion of the environment into his work. He engages in interactive projects and collaborations such as "Video Sonic Project" with the Media Institute of the University of Tuebingen; "Darwin's Coral - One Ocean Project", a collaborative exhibit with OneWorldOneOcean; "The Third Image", a photo project with Rick Ashley; "The Nucleus Project" with Werner Trotter; and others. 

He engages scientists in a non-verbal dialogue, "Dialogues", at the Broad Institute of Harvard and MIT; participates in transatlantic exhibitions such as "KunstTraject langs de Leie", Belgium, and "Art in Embassies", Brussels; creates site-specific exhibitions such as at the ballroom of the Goethe Institute Boston; and more. 

Haussmann also enjoys the exchange with fellow artists and students. He has been a mentor and educator at Lesley University, Art Institute of Boston, and at New Hampshire Institute of Art; and since 2014 has been offering courses at the Truro Center for the Arts at Castle Hill, Truro; the Provincetown Art Association and Museum, Provincetown; and the Montserrat College of Art, Beverly. 

Haussmann was the artist-in-residence at the Broad Institute of Harvard and MIT, 2012 - 2015.