Anselm Kiefer. Wilder Kaiser, 1975. Watercolour and acrylic on paper; 6 3/8 x 9 1/2 in. (16.2 x 24.1 cm). Metropolitan Museum of Art 1995.14.11
Because I was thinking about Keifer after thinking about Gerhard Marx's grass and mud drawings of Johannesburg, I came across this drawing he did in 1975 of what the Met describes as 'the limestone massif of the Kaiser mountain range in northern Tyrol', the Kaisergebirge. The Wilder Kaiser is one ridge, the other is lower and rounder, the Zahmer Kaiser. Somehow, living next to the Rocky Mountain Range, and driving back and forth 1100km to the coast through this range, the Selkirks and the Coast Range, a range of two ridges seems rather European.
Nonetheless, and that is irrelevant, Keifer's Wilder Kaiser is a gesso crag in a watercolour sea. Evidently he worked from a map and included a bit of cartographic information for Predigtstuhl: 2083m.
Because the next issue of On Site review is on mapping, and because it was -26 this morning and it is a tad chilly about the edges here, this particular drawing appeals. Keifer's mapping shows the limits of perception: either what you can see or what you want to know, both necessarily limited. The size of the subject, here a mountain, has nothing to do with the size of a map, or a drawing, or a thought. The name stands in for the range, the gesso peak for one of the individual peaks in it.
Conventional mapping flattens a complex and emotional world to a flat sheet, coded to illustrate topography, and imposing an equivalence on all information that is distinctly misleading. And yet it is so pervasive it has us running around on the surface of the world as if we were on charts, and as if we are incapable of holding opposing thoughts and perceptions in our heads. Yes Predigtstuhl is part of the Wilder Kaiser, but yes too, it is separate from it. For this we need artists.