Christian Hoischen, who intervenes in various places with the multiplication of his work “O. K.”, precisely maintains the balance between serial-concrete poetry and provocation with the frequency of the work and the way in which it is mounted. The paper sheets with the word “O. K.”, fixed to the walls by several heavy plugs, are confirmed through the essence of the work; they justifies it and prompt to the affirmative systems: it can work like this, too. However, the existential necessity with which this onsite consent has been given in quite specific situations and conditions requires the respect of space for all relationships within them. Because nobody would so publicly give his or her O. K.
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