Hohenbüchler, Sonsbeek ’93

Irene en Christine Hohenbüchler, Untited project, 1993

In the three months leading up to Sonsbeek '93, sisters Irene and Christine Hohenbüchler (1964) create artworks together with prisoners in Arnhem's Koepgevangenis (Dome Prison), under the supervision of a guard in a specially equipped room in the prison. The final result is partly displayed to the public right next to the Koepelgevangenis, in three simple pavilions (fig. 1) and partly in the prison itself (fig. 2). Apart from the artworks, there are photographs and videos explaining the special collaboration.[1]

Exchange with people at the bottom of society is central to many of Irene and Christine Hohenbüchler's projects. Before Sonsbeek '93, for instance, they worked with disabled people from the art workshop Lienz in Tyrol. Their experiences and the disabled people's artworks are collected in Herbar (1991). They also visit psychiatric institutions in Germany. During their work, their personal background will undoubtedly have played a role; their younger sister Heidi struggles with depression and the sisters' mother has been in therapy for a long time. In an interview included in the Sonsbeek '93 exhibition catalogue, they both talk openly about this.[2]

De samenwerking in Arnhem is zowel voor de zussen als de gedetineerden compleet nieuw. De tweeling vindt het belangrijk dat de gevangenen zoveel mogelijk zichzelf kunnen zijn en hun eigen beslissingen nemen. Ze kunnen bijvoorbeeld zelf ervoor kiezen om te komen, bepalen wat ze willen creëren en welke muziek wordt opgezet. Sommige gevangenen komen iedere dag, terwijl andere maar een paar uur per week bezig zijn. Voor de zussen staat het contact tijdens het werkproces voorop, waarbij ernaar gestreefd wordt om elkaar te motiveren en inspireren. Hoewel ze de mensen intensief begeleiden, zien Irene en Christine zichzelf niet als creatieve therapeuten of docenten maar als ‘animators’.[3] Christine's diary entries in the catalogue show that, in reality, it is not always easy. "For most [of them] it is just a burden to concentrate on something," she writes.[4] As a result, she is sometimes very insecure about herself and the project.

The artworks on display, mostly paintings, mark the end of a months-long collaboration. However, it remains unclear what was created by the artists and the prioners, respectively.[5] Artistic authorship thus plays no role whatsoever; the working process is the most important aspect.

[1] “De Hohenbüchlerzusjes in Koepelgevangenis”, in: De Kunsten, p. 43.
[2] I. en C. Hohenbüchler en E. Jelinek, in: exhibition catalogue, Arnhem (Sonsbeek ‘93), 1993, pp. 254-260.
[3] “De Hohenbüchlerzusjes in Koepelgevangenis”, in: De Kunsten, p. 43.
[4] C. Hohenbüchler, in: exhibition catalogue, Arnhem (Sonsbeek ‘93), 1993, p. 267.
[5] “De Hohenbüchlerzusjes in Koepelgevangenis”, in: De Kunsten, p. 43.