hansjoerg dobliar/title> <link rel="stylesheet" href="css/stil1.css" type="text/css" media="all" /> <style type="text/css" media="all">@import url("css/01_box_fixed.css");</style> <meta http-equiv="content-type" content="text/html; charset=iso-8859-1" /> <meta name="MSSmartTagsPreventParsing" content="TRUE" /> <meta http-equiv="expires" content="-1" /> <meta http-equiv= "pragma" content="no-cache" /> <meta name="robots" content="all" /> <meta name="author" content="Owen Briggs" /> <meta name="description" content="Workarounds for CSS browser issues." /> <body bgcolor="black" text="white" link="white" vlink="white" alink="#FFA500"></head><body> <div id="content"> <div id="hauptnavi"> <ul id="hauptnavi"> <li><a class="n1" href="index.html" target="_self">HANSJOERG DOBLIAR</a></li> </ul> </div><Br> <div id="hauptnavi"> <ul id="hauptnavi"> <li><a class="n1" href="works06.html" target="_self">SELECTED WORKS</a></li> <li><a class="act" href="book06.html" target="_self">BOOKS/ESSAYS</a></li> <li><a class="n1" href="bio.html" target="_self">CV</a></li> <li><a class="n1" href="contact.html" target="_self">CONTACT</a></li> </ul> </div><Br> <div id="books"> <div id="book"> <IMG SRC=bilder/kat_fan.jpg border=0><br><p class="n2">fantastic voyage<br>64 pages <br>publisher: ben kaufmann<br>ISBN 3-00-014373-4<br>2004</p><br> <a class="kat" href="book07.html" target="_self">> The delicate deformation</a><br> <a class="kat" href="book09.html" target="_self">> It’s always night, or we <br> wouldn’t need light</a><br> <a class="kat" href="book06.html" target="_self">> Remote Memories</a><br> <a class="kat" href="book05.html" target="_self">> The Diamond Sea</a><br> <a class="kat" href="book04.html" target="_self">> Raum der ekelhaften <br> un-euklidischen Geometrie</a><br> <a class="kat" href="book03.html" target="_self">> Zeichen und Wunder</a><br> <a class="kat" href="book02.html" target="_self">> Liason dangereuse</a><br> </div> <div id="booktext"><p class="n1">”The comparison with Romantic painters thrusts itself to the fore with Dobliar: not only are there motific correspondences in the formal structure, but the mental approach to the medium of painting is similar. Romanticism takes up a position, in particular through its emphasis on emotional sensibility and authentic feeling, in opposition to a positivism gaining the upper hand more and more, and not only in the sciences. Another aspect of the Romantic program is a turning towards the irrational, the fantastic but also the authentically felt. “Who doesn’t see spirits upon the clouds before the setting sun?” wrote Runge two hundred years ago in repudiation of a rationalist-explanatory world view, ascribing to the medium of painting the potential for newly creating an alternative world. Baudelaire as well demands the program of opposition: “I prefer to gaze upon various theatrical sets, in which I recognize my most cherished dreams in artistic form and tragic concentration. These things, inasmuch as they are false, are infinitely closer to the Truth; for which reason most of our landscape painters are liars, precisely because they have neglected lying.<br><br>” Not only do Dobliar’s pictures stand in relation to Romanticism, but they seek equally often a proximity to films, above all to horror, thriller and science fiction. These genres as well construct fantastical alternative worlds, open up spaces of the imagination which are not conventionally “true” but are instead cleverly staged “lies” which, however, ring so true for that very reason and exercise a compelling influence upon us.<br><br> Dobliar places his trust in the integral efficacy of the picture, in the visual image as a productive “psychoactive” medium which, by means of composition, motifs or application of paint, is capable of imparting to the viewer moods and sentiments which lie beyond the profane and the normal, and which set in motion more sublime psychological processes. Thus he makes use of that potential, contained within every picture, which all Romantics demonstrate emphatically in their pictures, namely of “lying” in order to approach another truth and of insisting on a power which is immanent in pictures, “in order to stir up into the air the dust of a world that is caught in a cage.”<br><br> Daniela Stöppel<br><br> <a class="kat" href="book01b.html" target="_self">> Hans-Jürgen Hafner</a> </p></div> </div> </div> </body> </html>