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Statement

„When attitude becomes form”, sagt Harald Szemann in Bern, 1964.

Es ist ein der bekannten, ewig perpetuierten Form entgegen arbeiten, um so der banalisierten emotionalen Kraft wieder Ausdruck zu verschaffen.

Meine Arbeiten sind das Artikulieren der Empfindungen, Erfahrungen und Konzepte, so dass Spannung zwischen dem nicht Artikulierten und dem Ausgesprochenen entsteht.

Somit sollen diese Werke, den aus dem Bewusstsein des Publikums verschwundenen Gedanken des Denkmals, frei und von komplexer Bedeutung, wieder in Erinnerung bringen.
Diese Skulpturen beziehen sich auf die von mir miterlebten Ereignisse des Zweiten Weltkriegs.

   

Statement

“When attitude becomes form”, says Harald Szemann in Bern, 1964.

In my photographic work I like to incorporate as much as possible from the experience of 160 years of photography; at the same time I am working against the familiar shape, unceasingly perpetuated, in order to bring out the energy which has lost its intensity and ancient power. I want a free image, with ambiguous, complex expression.

I am searching for the moment between the articulate and the unexpressed, between the discursive and the instinctive. I want to remove as much as possible the traces of the computer, which I use, of course, too. Thus, I transpose concrete images into abstractions; there is a process of inverting visual values. I am searching for the balance between concepts and emotions. In the image, I am not interested in the purely passionate outburst, which doesn’t exist in this form in the true work of art. The image is taken out of its historical context and becomes part of my working process. The image created by an artist certainly enjoys the highest degree of freedom from historical facts and objects; it is an image that cannot be obtained in any other way, it is as valid, for example, as a historian’s interpretation.

When I do photography, I usually act from the sculptor’s point of view and all the concepts derive from this attitude, either because the expression of the image is sculptural or correlated to historical or contemporary sculpture, or because the photographic image contains in itself an idea for a sculpture, be it conceptual or even feasible. Some of my sculptures, such as “Memorial for Count Claus Schenck  von Stauffenberg” or “Earth window”, even generate images which merely need to be captured.

Since 1979, I have been working on the notion of time, on the visualization of the passage of time, such as in the work “Underground Memorial” and others.

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Memorial
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Memorial
     

A new concept of urban sculpture

The Holocaust Memorial built in Bucharest by Peter Jacobi proposes an architecture for a collective memory, in the attempt to retrieve a tragic past into an aesthetic register. The monument is equally a personal archive where one can identify elements of the artistic evolution of this sculptor.

 

The viewer follows a path marked by conceptual landmarks and along which the transition from the concrete to the abstract supports the effort of remembrance.

By inserting cinematic elements, the artist challenges the traditional idea of art for the public space and proposes new forms of interacting with the site. The sculpture elements themselves were imagined as a process: the deliberate alteration of the viewer's sensory data evoques the abrupt breaking of life and the physical perception of the slipping of time just before death. The artist deliberately chose a column as part of the monument, since the significance of this element is many-folded and widely known in Romania, a country that is home to one of the most famous columns of the world.
Intended as an interface between visual arts, sculpture, urban planning and social communication, this memorial offers the basis for a debate on assuming possession and transforming the public space. The crossing of borders in his approach of concepts as well as forms characterizes the artistic statement of the author.

 

Magda Predescu

Un concept nou de sculptura urbana

Arhitectură a memoriei colective, Monumentul Holocaustului ridicat la Bucuresti recupereaza în registru estetic un trecut tragic. Memorialul este, în egală masură, o arhivă personală în care se pot recunoaste urmele traseului artistic al sculptorului Peter Jacobi.

Ghidat de elemente conceptuale, receptorul parcurge un traseu în care trecerea
de la concret la abstract susţine travaliul memoriei. Introducând activitatea cinematică, artistul pune în egală masură sub semnul întrebării concepţia tradiţională despre artă în spaţiul public, propunând noi forme de interacţiune cu situl. Elementele sculpturale au fost ele însele imaginate ca proces: modificând datele senzoriale ale privitoriului, amintesc oprirea forţată a vieţii şi perceperea fizică a timpului înainte de moarte. Artistul a ales în mod intenţionat ca parte a ansamblului o coloană, semnificaţiile acestui element fiind multiple şi binecunoscute în România, ţara care posedă una din
celebrele coloane ale lumii.

Gândit ca interfaţă între artele vizuale, sculptură, urbanism şi comunicare socială, memorialul oferă şansa unei dezbateri privind luarea în posesie şi transformarea spaţiului public. Abordarea conceptuală şi formală transfrontalieră caracterizează poziţia artistică a autorului.

Magda Predescu


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Holocaust Memorial, Bukarest/Rumänien 

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Platz für das Holocaust Memorial in Bucharest - ehemaliges Innenministerium

Site for the Holocaust Memorial in Bucharest/Romania - former Ministry for Internal Affairs

   

Plan des zentralen Gedenkraums

Plan of the Central Building

   

Plan des zentralen Gedenkraums

Plan of the Central Memorial, lateral view

   
Plan des zentralen Gebäudes, VorderansichtPlan of the Central memorial, Front view     Zentraler Gedenkraum, Innenansicht mit Lichtreflektionen (Studie)
Interior Central Memorial with reflections (Studie)

   
Gedenktafel Holocaust Memorial, 2009
Commemorative plaque, 2009
    Holocaust Memorial in Bukarest/Rumänien, Gesamtansicht
Holocaust Memorial Bucharest/Romania, General view
   
Holocaust memorial in Bukarest/Rumänien, Gesamtansicht
Holocaust Memorial Bucharest/Romania, General view
    Seitenansicht
Side view
   
Zentrales Gedenkgebäude, Eingang
Central Memorial Building, Entrance

    Treppen-Anlage
Staircase
   
Treppenanlage
Staircase

    Treppenanlage
Staircase
   
Sicht auf das Zentrale Gedenkgebäude
View on the Central Memorial Building
    Zentrales Gedenkgebäude bei Nacht
Central Memorial Building by night
   
Seitenansicht rechts
View on the right side

    Seitenansicht links
View on the left side
   
Texttafel zu den entweihten jüdischen Grabsteinen aus Odessa
Commemorative plaque for the desacralisated Jewish Grave Stones from Odessa
 
    Entweihte jüdische Grabsteine, Odessa
Desacralisated Jewish Grave Stones, Odessa
   
Entweihte jüdische Grabsteine, Odessa
Desacralisated Jewish Grave Stones, Odessa
    Texttafel zu den entweihten Grabsteinen eines  jüdischen Friedhofs in Bukarest
Commmemorative plaque for the desacralisated Jewish Grave Stones originally from a Jewish cemetery, Bucharest

   
Entweihte Grabsteine eines jüdischen Friedhofs in  Bukarest
Desacralisated Grave Stones from a Jewish Cemetery in Bucharest

    Zentrales Gedenkgebäude, Innenraum
Central Memorial Building, interior space
   
Zentrales Gedenkgebäude, Innenraum
Central Memorial Building, interior space
    Zentrales Gedenkgebäude, Innenraum, Einweihung
Central Memorial Building, interior space, Inauguration ceremony
 
   
Zentrales Gedenkgebäude, Innenraum
Central Memorial Building, interior space
    Zentrales Gedenkgebäude, Innenraum
Central Memorial Building, interior space
     
 Zentrales Gedenkgebäude, Innenraum
Central Memorial Building, interior space
    Zentrales Gedenkgebäude, Innenraum, Eingang
Central Memorial Building, interior space, Entrance

Zentrales Gedenkgebäude, Innenraum
Central Memorial Building, interior space

Stahl-Platten mit eingravierten Vornamen von Opfern
Steel plate with first names of victimes

Zentrales Gedenkgebäude, Innenraum, Stahl-Platten mit eingravierten Vornamen von Opfern
Central Memorial Building, interior space, steel plate, first names of victimes

Zentrales Gedenkgebäude, Innenraum, Stahl-Platten mit eingravierten Vornamen von Opfern und Lichteinfall
Central Memorial Building, interior space, steel plate, first names of victimes and light projections

Säule der Erinnerung, Gesamtansicht
Column of Remembrance, General view

Skulptur mit David Stern
Sculpture with Star of David

Skulptur mit David Stern
Sculpture with Star of David
Den Roma-Opfern gewidmete Ring-Skulptur
Sculpture dedicated to the Roma victims

Den Roma-Opfern gewidmete Ring-Skulptur
Sculpture dedicated to the Roma victims
Via Dolorosa

Via Dolorosa
Via Dolorosa Epitaph, Stahl und angesaegte Bruchsteine,  75 X 212 x 405 cm
Epitaph, Steel and stones having a  cut, 75 X 212 x 405 cm


Epitaph, Stahl und angesaegte Bruchsteine,  75 X 212 x 405 cm
Epitaph, Steel and stones having a  cut, 75 X 212 x 405 cm

Der staehlerne Container wird hier nicht als pur geometrische und minimalistische Form gesehen. In dem katafalkartig erscheinenden Behaelter stellen die Steine Masse im doppelten Sinne dar: Schwere und Vielzahl. Die Steine – auch anstatt Koerper – Masse von Koerpern, von Baggern geschobene Haufen. Die Individualitaet des Einzelnen bleibt in der gefassten Masse ablesbar.Here, the metal container is not perceived as a purely geometrical/minimalist shape. It somehow resembles a catafalque where the stones acquire double meaning: weight/burden and large numbers standing for the bodies, for the piles of bodies carried away by excavators. Each stone has been cut with a saw, thus having suffered the intervention of the artist. The specific traits of the individual are to be found in the mass of rocks.
       
       
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World War II Memorial/ Collection Stadt Pforzheim
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World War II Memorial/ Collection, City Pforzheim
       
   

World War II Memorial, 1986, Cor ten Stahl, 420 x 200 x 600 cm
World War II Memorial, 1986, Cor ten steel, 420 x 200 x 600 cm

   

World War II Memorial, 1986, Cor ten Stahl, 420 x 200 x 600 cm
World War II Memorial, 1986, Cor ten Steel, 420 x 200 x 600 cm

       

Platzbestimmende Monumente, Denkmaeler und Zeichen setzt Peter Jacobi. Monumentale Ruhe und Klarheit stellt der offene Stahlkoerper vor: ein Mahnmal, ein zugaenglicher, und doch fuer sich stehender Meditationsraum. Seine atmosphaerische Gestimmtheit ist gepraegt durch das Material und die Klarheit von Flaechen und Raum, in der sich Wissen und Erinnerung projizieren und Existenz sich zuspitzt.

Werner Meyer
Direktor Kunsthalle Goeppingen

   

Peter Jacobi sets up Memorials that define space, signs that mark that space. The open steel body creates a sense of silence and clarity; it is a space that invites meditation. Its fine atmosphere is determined by the material as well as the clarity of the surfaces and spaces where knowledge and remembrance merge and we have an acute sense of living. 

Werner Meyer
Director Kunsthalle Goeppingen

       
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Resurrection
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    gidigidi

Resurrection, Sammlung Stuttgart - Stammheim, 1986, Stahl und Farbe, 420 x 240 x 150 cm
Resurrection, Collection Stuttgart – Stammheim, 1986, steel and paint, 420 x 240 x 150 cm

   

Resurrection II, entstanden waehrend des „Helsingfors Festspel“ 1986, Sammlung Teraesbetony oy Helsinki, 1986, Stahlbeton, 420 x 300 x 180 cm
Resurrection II, made during the “Helsingfors Festspel”, 1986, Collection Teraesbetony of Helsinki, concrete-steel, 420 x 300 x 180 cm

       
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Memorial fuer Claus Graf Schenck von Stauffenberg
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Sich ueberlappende Spiegelungen auf der Glasoberflaeche und auf der Wasseroberflaeche bringen das Bild des Betrachters, das Bild der Umgebung und das der Wolken in ein komplexes Geschehen zusammen. Oben und unten begegnen einander. Dort, wo ich ihn vermute.

    Images reflected on the surfaces of the glass plate and of the water from the stone container overlap, superimposing the picture of the clouds to that of the viewer and of the environment in a complex event. The celestial meets the terrestrial there, where I believe him to be.
       
   

Memorial fuer Graf Claus Schenck  von Stauffenberg, 1989-95, Granit, Glas, Wasser, 100 x 150 x 450 cm
Memorial for the Count Claus Schenck  von Stauffenberg, 1989-95, granit, glass, water, 100 x 150 x 450 cm

   

Du siehst die Spiegelung der Wolken
selbst zwischen Himmel und Erde
warte hier, ich kaeme zurueck.

Clouds mirrored in a glass
Midway between heaven and earth you yourself linger
Should I return, wait for me

     

Spiegelung im Innern der Skulptur
Mirroring inside the sculpture

     
       

Memorial fuer Claus Graf Schenck von Stauffenberg (Variante II)

In beiden Varianten des Memorials fuer Graf Claus Schenck von Stauffenberg entstehen Bilder die zu einer eigenen Autonomie finden. In den beiden unten  stehenden Bildern sind Raeume und Ebenen unterschiedlicher Art festgehalten. So ist die Ebene der Wolken, die Ebene des oberen und unteren Rohr Endes, der Betonrand, die Umrisse des Betrachters, die Wasseroberflaeche, mit den erwaehnten Spiegelungen.

   

In both versions of the Memorials dedicated to the Count, the photographic images for which they serve as a source have become autonomous works of art.

       
   

Memorial  fuer Graf Claus Schenck von Stauffenberg (Variante II), 1989, Stahlrohr, Betonschacht, Wasser, 6000 x 150 x 200 cm
Memorial for the Count  Claus Schenck von Stauffenberg (variant II), 1989, steel tube, beton container, water, 6000 x 150 x 200 cm

   

Reflexionsbild im Memorial, 1989, Farbfotografie, 50 x 60 cm
Image out of reflection in the Memorial, 1989, coloured photograph, 50 x 60 cm

       
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Memorial - Pavillon
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Memorial - Pavillion
       

Memorial zum Gedenken an die Opfer der Euthanasie.  Decke und Boden sind  identisch, bis auf die obere Oeffnung.  Beim Eintreten  des Betrachters, wird sein Blick unwillkuerlich, durch die Oeffnung, nach oben  zum Himmel gefuehrt.

   

The Memorial is dedicated to the victims of Euthanasia. The top and the bottom are identical, except for a hole in the upper section. As the visitor enters the pavilion, his eyes are involuntarily drawn through the hole to the sky.

       
   

Memorial Pavillon, 1988, Bronze, 45 x 45 x 45 cm
Memorial Pavilion, 1988, bronze, 45 x 45 x 45 cm

   

Memorial Pavillon, 1993-98, Holz, 40 x 49 x 49 cm
Memorial Pavillion, 1993-98, wood, 40 x 49 x 49 cm

       
   

Memorial Pavillon, 1993-98, Holz; 40 x 49 x 49 cm
Memorial Pavillion, 1993-98, wood, 40 x 49 x 49 cm

   

Memorial - Pavillon (Studie), 1994-99, Holz, Pappe, 60 x 47 x 47 cm
Memorial – Pavillion (study), 1994-99, wood, cardboard, 60 x 47 x 47 cm

       
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Gestaltungsvorschlag fuer ein Memorial auf dem Pforzheimer Truemmerberg (Wallberg)
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Proposal for a Memorial on the rubber hill (Wallberg) in the town of Pforzheim
       

Am 23 Februar 1945, wenig  vor Kriegsende, wurde die Stadt Pforzheim von Alliierten Bombern fast zur Gaenze zerstoert. Es starben 18000 Menschen, meist Frauen und Kinder.     

Die Vegetation auf dem Berg wird so angelegt, dass die  weithin sichtbare Kuppe im Verlauf der Vegetationszeit ihre Farbe merklich, ca. drei mal, im Jahr durch die unterschiedliche Farben der Blueten, aendern. So wird auf die ungewoehnliche Geschichte des Berges hingewiesen.

Auf  die obere Plattform des Berges soll eine Reihe von Lichtsaeulen (ca. 2 m) auf die asymmetrische Begrenzung dieser Flaeche gesetzt werden. Durch die montane Topografie der Umgebung wird diese Lichtquelle in unterschiedlichen Formen zu sehen sein. Diese kann als divers geformte Linie, zum Beispiel als Bogen, als Schlaufe, als Ring erscheinen. Diese Lichtformationen werden in der Nacht ueber der Stadt als schwebendes Zeichen zu sehen sein.

Am Tage der Wiederkehr dieser grausamen Feuersbrunst, am 23 Februar, kann die Kuppe in eine Wasserdampfwolke gehuellt werden, diese  wird mit Licht angestrahlt, so wird in besonderer Weise an die Schleifung  der Stadt erinnert.

   

On February 23rd 1945, weeks before Germany surrendered, an air raid of the Allied forces almost wiped Pforzheim, a town in the south-west of Germany, off the face of the earth. There were 18,000 victims, mostly women and children.

Plants will be grown on the hill so as to make it look like a dome and change its colour three times a year, according to the flowers blooming in different seasons. That will reveal the most extraordinary history of this hill.

A row of lighted columns (ca. 2m) will be installed around the asymmetrical platform at the top of the hill. Due to the variations in the topography of the surrounding landscape, the row of lights will be perceived differently, according to the position of the viewer. For instance, you will see it as an oval, a curve, or a line. These light formations will float above the town at night.

Every February 23rd, the hill will be veiled in a cloud of smoke or steam, which will be lighted. The extraordinary installation will be a special way to recall the destruction of the city.

       
   

Wallberg, Truemmerberg, auch Monte Scherbellino genannt. Errichtet aus dem Schutt der geschleiften Stadt. S/W Fotografie 50 x 60 cm von 1978
Rubble mountain, Wallberg, or “Monte Scherbellino”, made of the rubble resulting from the destroyed city. B/W photograph, 50 x 60 cm, 1978

   

Entwurf fuer ein Memorial auf dem Truemmerberg Pforzheim. Durch Vegetation verfaerbte Kuppe, digitaler print, 80 x 110 cm
Project for a Memorial on the rubble mountain, Pforzheim.The dome changes its colour with the vegetation, digital print, 80 x 110 cm

       
   

Entwurf fuer einen Memorial auf dem Truemmerberg Pforzheim, digitaler Print, 80 x 110 cm
Project for a Memorial on the rubble mountain, Pforzheim, digital print, 80 x 110 cm

   

Entwurf fuer ein Memorial auf dem Truemmerberg Pforzheim, digitaler Print, 80 x 110 cm
Project for a Memorial on the rubble mountain, Pforzheim, digital print, 80 x 110 cm

       
     

Entwurf fuer ein Memorial auf dem Truemmerberg Pforzheim, digitaler print, 80 x 110 cm
Project for a memorial on the rubble mountain, Pforzheim, digital print, 80 x 110 cm