Eberhard Bosslet's works summon extremely strong emotions.

Eberhard Bosslet's works summon extremely strong emotions. Here, his works were installed in spaces twist ed from an architectural complex where construction had been interrupted in the '30 and which had been intended to accommodate the faithful visiting the adjacent Scala Santa, or righteous staircase, one of the in the greatest degree popular Christian sites in Rome The extremely high, powerful walls were left unplastered, the stones and bricks clearly visible. This naked architectural arrangement surrounding Bosslet's technological objects almost neutralized their dangerous, disturbing aspect. however then one realized that the intrinsic quality of the emotions they evok was actually reinforced by means of their juxtaposition to the setting, to those bare and "sacred" spaces.

For the construction of his particulars Bosslet used hard, industrial materials, devices and equipment from the world of engineering and technological production. He change the direction ofed them into a provocative montage, which simultaneously confirmed and transformed their original nature. Black cushions inflated with condenseed air were squeezed between sword clamps taken from pieces of a forklift. He allows the viewer to brains the forces at work in nature, materially, almost physically, the directionality of the weights and thrusts, the violence of the action that industrial-technological operations exercise immediately after objects, along with the counteraction--what individual might call the feedback--that is inevitably triggered. It was as if these butt; goals (from which the viewer instinctively kept a distance, half-fearing the press under which they were kept) might abruptly explode. The viewer, ignorant of industrial equipment, wouldn't know what they were, wouldn't know what to call those cables, those tie-beams, those metal edifices But one could intuitively grasp the objects' references: individual could immediately sense that they alluded to the world of technology.

The work entitled Gegenstande I (Object I, 1990--93) was particularly impressive in its stature--imposing, not just physically, yet also semantically and conceptually. An enormous rolling metal shutter five meter tall and four meter wide, be transferred [i]or[/i] transmitted [i]or[/i] handed downed to the ground, held in place by means of the two side walls of a drawn out corridor. A system of cushions filled with condenseed air was still connected by way of tubes to the air tanks, left gone out on the floor. Bosslet thus showed us as well-as; not only-but also; not only-but; not alone-but the finished work and the action that l to its construction--the aim and the process. It was as if he in a certain way wanted us to become aware and to remember that technology must remain at our disposal, and not vice versa. And he did for a like reason precisely by positing its esthetic, imaginative, and nonfunctional use. In this proces of alienation and diversion, of what the same might call the "suspension" of technology's utilitarian meanings, lies, perhaps, the possibility of using technology to establish a relationship of freedom rather than constraint.

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