Episode 048 Jochen Saueracker

Show Notes

This week’s guest Jochen Saueracker had some incredible stories to tell – the early decades of his career were spent as a sort of engineer and/or video art roadie for Nam June Paik, traveling all over the world installing complex towers of CRT monitors. Today, in addition to working closely with Shigeko Kubota’s estate to steward her legacy and archive, Jochen works as part of an incredible workshop called Colorvac. Not only is Colorvac one of really just a handful of workshops still capable of maintaining old Cathode Ray Tube televisions, but Colorvac has refined some incredible unique methods and tools for “refreshing” CRT monitors – actually cracking open the tube, giving it a little tidy-up inside, replacing the electron gun, and resealing the vacuum tube. Mind blowing stuff. On top of all of this, Jochen is an artist in and of his own right. Tune in to hear Jochen’s story, as well as some breaking news about the future of Colorvac!

Links from the conversation with Jochen
> See Colorvac in action: https://youtu.be/jQrbzapU0dU
> Colorvac website: http://colorvac.de/
> Jochen’s art: http://jochensaueracker.de/

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Transcript 

[00:00:00] Ben: From Small Data Industries, this is Art and Obsolescence. I'm your host, Ben Fino-Radin. And on this show, I chat with people that are shaping the past present and future of art and technology. This week, we have a very special guest. 

[00:00:15] Jochen: Hi, my name is Jochen Saueracker and I am an artist. 

[00:00:19] Ben: In addition to his own artistic practice for decades, Jochen worked as a sort of assistant slash video art roadie of sorts to a little known artist you may have heard of called Nam June Paik Today Jochen does many things, including stewarding the legacy of Shigeko Kubota in collaboration with her estate. But truth be told the real reason Jochen is here on the show is I wanted to pick his brain about TVs. Cathode Ray tubes to be exact CRT monitors. Jochen is part of the team of an incredibly unique and brilliant small workshop called Colorvac. They are among the very few workshops in the world that are skilled in the maintenance, repair and calibration of CRT monitors. I can still remember how flabbergasted I was when I first learned about Colorvac work. They are, as far as I'm aware, one of the only workshops that have refined a process for quote unquote, refreshing CRT monitors, actually cracking open the tube, giving it a little tidy up inside, replacing the electron gun and resealing the vacuum tube, mind blowing stuff. And if none of that made any sense, don't worry in our chat Jochen walks us through the ins and outs of CRT monitors and as well, there is a link in the show notes this week to a great video that shows Colorvac in their workshop, doing their thing. We cover so much ground in this chat, and Jochen also shared some very exciting breaking news about the future of Colorvac that you will not want to miss. So stay tuned. Before we dive in just a reminder that if you have been enjoying the show, leaving a review on whatever platform you are listening right now is deeply appreciated. It really helps other people discover the show. Thanks so much to all of you that have already left such glowing reviews. You are appreciated. And now without further delay, let's dive into this week's chat with Jochen Saueracker. 

[00:02:23] Jochen: I had an interest in arts at high school , but within my family, they were more supportive if I would go and study physics, which was also part of my interests , so I just followed the family and started physics at, , Bochum which is a very huge university. But I didn't finish all the exams and it was also one of those studies where you feel that within the first two years, kind of 90% of the people drop out and out of a hundred students or a thousand students maybe only 10% would do an exam at the end. There were more interesting people in arts. I found out, so it was just more fun in a way to socialize and to meet people and to talk with people. And art also had a very fascinating moment for me. So in my hometown, Essen in Germany, there was a Folkwang Museum with a very good, very historical and, uh, modern collection. And visits to the museum, always had a very deep influence to me. And I must say the first time I saw video art, actually, was within the Folkwang Museum. That I saw a show of Shigeko Kubota who happened to be the wife of Nam June Paik. And that was actually the first, real video sculptures I saw. And now I'm working also in the estate of, in the foundation of Shigeko Kubota so I can tell you all about those pieces but it was modern. It was very new at that time and it was kind of very attractive and had a deep impression on me. And, uh, so led to the thing of applying to the academy, which was much more complicated than to apply for a study of physics. Art academies normally, 400, 600, 800 people would apply and every year in Düsseldorf, they would take between 60 or 80 students. So it was kind of a chance to get in and I was lucky and very early in the first year all the first year students were huddled in one room and we had Tony Cragg as a teacher, which was kind of amazing new experience. And later I had the honor to study in the class of Günther Uecker who is not that much known in the states, but he was a very famous very influential member of the Zero group in Germany. One thing I really have to includes as a thing to keep in mind while we talk, we talk about the time of the early eighties. So we talk about a time where in Germany studying art, you didn't get any exam afterwards or diploma that was not common at that time. So you were allowed to study four years or five years. And then after five years for me the secretary said now Jochen that's enough. And so you have to go now so the atmosphere was quite different. So things were very open and you had no pressure and you really had to rely on your own energy where you would head and where you would go.

[00:05:44] Ben: Yeah. Well, so you mentioned, Günther Uecker I gather that you had actually quite a few very interesting professors in the academy one named Nam June Paik?

[00:05:55] Jochen: He called me an honorary student of his class, but I never did any real video artwork, myself or media artwork. For curiosity, I would explain a little about my relation with Paik whom I met in 1983 and it was on my first visit to New York. I ran to a friend Ingo Günther, who was a fellow student at the academy. And at that time, Ingle was helping Paik. So I entered Mercer street, studio of Nam June and Shigeko the first time to carry a heavy television around with Ingo. And Paik we sat down and during this visit, I remember that he asked me about building a structure for like a larger television piece. And we set it virtually on the floor and we're drawing shapes. And only years later I found out that what we did there at that time later became the V Matrix that was shown in Chicago in 1984. So everything happened kind of casual. You meet somebody you're open and then the world kind of opens to you. Later I met him in the hallway of the academy and we are passing by, I was saying hello to this very famous artist and was so proud that I had sat with him on this floor in this studio. And, uh, we passed by and you see that somebody is trying to remember what this guy. If he would know me or not. And then suddenly he remembered and turned around and asked me whether I have a car because he needed to go to Cologne and already was late. And um, that was the actual moment when I started to work with him. This was 83 and at that time Paik was involved in group shows, but there wasn't really whether he had 82, he had this major show with the Whitney museum, but in Europe he was just present with, uh, more video installations. And there wasn't any gallery or market material, which came later in the later eighties. So the situation was different. He was working on the Good Morning, Mr. Orwell program at that moment. And uh, we went together to the studio of years of Joseph Beuys who joined on making an edition to support this Good Morning, Mr. Orwell. And one of the strongest moment in my art life actually was pulling , the papers while Beuys was signing his prints. This is something you could shiver still remembering. Very intense moment. So Paik had a studio, but he was very on the move in a way. So my position, I was based in Germany, I visited in New York quite often, but, , my base was in Düsseldorf. And like in the very active times of 91, 92, 93, 94 I think in 93 we had five biennials, including the first time Gwangju biennial, the Venice biennial. So during this time, once I was at home and looked at my calendar and calculated that out of the 12 month, I was only two months at home and the other ones just traveling, working on different exhibitions. So I spent a lot of time in Korea also in, Seoul, and so it was very active time and saying that our work in the studio would not be so precise because work included setting up installations or planning, exhibitions more or less all over the world.  There was one instance now going back to the late seventies when the first larger installations arrived in museums and the details we were facing for example, was one installation in a famous quite modern museum building in Germany that the piece had 66 televisions. But in the gallery, was only one AC outlet and that was only covered 10 amps so it could barely run the piece, every time when the museum guards tried to switch it on the fuse popped. And this was also the time when those pieces kind of entered in a void in between the house meister. So the technical department and the conservation department, because the conservation department at that time, there weren't any media conservators yet. And they say, oh, it's electrical. So we don't touch it. And the technical department of the building said, oh no, it's art. We don't touch it either. And then after three months of non-function, the curator said, then we pack everything up and we don't show it anymore. So this really happens. And probably this wasn't the only museum which for many reasons were not equipped to handle these artworks. When we did the first larger exhibitions with pieces with more than a hundred TV sets, always made sure that we had a special AC box over the years becoming more elaborate. So you could switch on a 200 televisions piece, just with a key. You don't have to switch on different plug strips or anything. All these back things in a way, connecting the artwork to the museum, to the building or to the location was one of the things that was a job description in a way. So it was more like a translator connecting the artwork to the place where it was shown. That's the best you could do in a way, without any institutional background, you could just secure them. And very often at the opening, you would sit down in a quiet corner and make the plan for the next show. So the schedule was tight very often. So nowadays probably I'm pretty much without any job anymore. I'm too old to carry heavy a TV sets and, um, it also changed. So within my background maybe I'm too much an artist to be really good with conservation because if you have built something, then conservators are very happy if you're not around to install something because you can tell them how you did it, but it's very scary because I know I put this thing there. So why shouldn't I put it in different place because at that time would be better, but, uh, who as a conservator would allow that? So maybe my how you say, if I really work on pieces, I have to be really carefully also to always question what I'm doing and to be secure that my position is not the position of working for a living artist, but I'm responsible for the work of an artist that passed away. It's a very distinct, , border you cross in a way at some point. And you always have to make sure that you are aware about the position at that moment of work. Paik was very open towards new technology, towards new development and for example, we hardly ever talked about art. Most of the times , we met sitting at the Blimpies on Spring and Broadway for a sandwich we talked about politics, social politics, about scientific developments and so on. So those were more, topics within our discussions. So he is very open, he was very interested in new things but he was also the composer. In a television he didn't really saw this fantastic, highly complex technical element, but he saw a functional thing that he wanted to use for his artwork or wanted to reuse or rebuild in a way to be used within his script.

[00:14:05] Ben: So, fast forward to today, you work at a very special place for our listeners who aren't familiar, what is Colorvac?

[00:14:15] Jochen: Colorvac is a rather small company, I would say. It was founded by the father of a friend of mine, Christian Draheim and it was founded in 1962. The company was rebuilding picture tubes. It was a small company with some specialized machineries some were actually designed by Mr. Draheim himself. At that time you had this big industry, industrial production of picture tubes and televisions, and those had an output of the thousands a day or 10 thousands a month or so. On the other side, you had the consumer, you had the small repair shops and in the middle between the repair shops for televisions that offered the service to the normal TV consumers, you had the company like Colorvac that was offering specialized service to the industry. For example, within the process, maybe 1% of the picture tubes didn't live with the specifics that were needed. So some of them would go to the company of Mr. Draheim and he would rebuild them and then they would become part of a television again. Or if a television died and the picture tube was the reason then Mr. Draheim would service a picture tube and it would go back to the TV, repair shop and then later go back to the consumer. So it was a kind of a manufacturer in between the repair shops and the consumer side and the industry side. I described Kovak as a, company founded in 62 by the father of Christian Draheim but Christian worked at the company of his father and learned this trade from scratch but the world continues. And, uh, in the nineties, hardly any televisions were still in service. And at the end they were servicing high quality televisions, that were used in hospitals or with military use and so on. But even those was not enough to support the company. So actually the refurbishing of CRT picture tube was closed at some point, I don't know the exact date. After some years of waiting for something, then also all the machinery went to the scrapyard more or less. It's unfortunate, but it happened with all of those companies. There were quite a handful around the globe at the time of the nineties or eighties when CRT monitors were the high end part of technical screens. But Christian he is a technician, but he also is more an artist. He's somebody really who goes into the details and is also proud about what he's doing, but he's also very curious to learn , how things connect and why and so on. So he couldn't really give up. I think in 2015 or 16, he was approached by a student of conservation from the Cologne university and this student wanted to make a comparison about CRTs and how CRTs could be replaced. And um, from this interest the first larger project arose and, I came in from the university side, because I was a, how you say the second reader of the bachelor thesis? So, I came in from that side and, the student went on and convinced the museum here in Düsseldorf to rebuild the picture tubes of this huge Fish Flies on Sky that they have in their collection. So the budgets were done and so on and during this process, Christian Draheim he thought, oh, there is really a need. Maybe there is something we could keep the picture tube alive. And he worked with picture tubes for most of his life. So he was very happy and very interested, to find out about this. So he connected to the people he knew from his active life within CRTs and he collected, I think, 15,000 electron emitting systems from companies that he knew, who worked with his father, and he even went to east Germany where since the nineties, all the neck glass that this, which is the small tubes of glass in the neck of the picture tubes, there were all produced in an east German glass factory. This glass is not available anymore because it's lead glass. So probably it's not even possible to produce it nowadays. And the glass factory was already gone, but Christian, he met a guy who actually was responsible for the buildings that still existed. And this guy knew that in the basement were, I think 800 pieces of this glass tubes. So Christian drove there with two vans and, um, they got all the glass and stored them. So he was trying to collect the remnants that were still in reach with this, uh, parts. So he started then to rebuild a glass machine and a machine where the vacuum could be built and so on. So it was all this kind of rebuilding a workshop. And knowing that you couldn't buy any machinery except vacuum pumps, they were all secondhand so there wasn't nothing new to get. So it was kind of very challenging thing that he started to work on.

 The picture tubes, two things can age. Inside the picture tube is a vacuum and, in the neck of the tube, there is an electron emitting system. There's a small element that gets heated and the element then emits electrons and those electrons by the high voltage are propelled to crash the screen and make a small image. And over the time, the element that emits the electrons wears out. So the number of electrons that are emitted, decrease and parallel to this process, also the vacuum inside the tube gets corrupted by dirt, it's kind of broken electrons and whatever flies around in a vacuum and both effects lead to a faint and dim picture. So this is aging, but it also could be that there is a lower quality element that was built in there. So aging and failure could be the same. So this is side of the picture tube, but on the other side, inside the television, there is also the chassis, the electron board. And also on this chassis, there are elements that can age and lead to failure in functioning or in, showing good image. So both things have to be attended at the same time, in a way. On the website of Colorvac there is an entry called workshop and there's a small video of how a picture tube is opened, how the old system is removed, a new system is placed in how the glass is connected again. And then later the process of, um, installing a vacuum. And then starting the new electron system. So there's a small video, which is about five minutes in this video you see that, you need very define machinery to do this. This is all something you could make, you could build and you could experiment. But the bigger challenge in a way is to save the idea and the knowledge about CRT monitors and while looking at this year's Whitney Biennial I felt very nice that they had all the media art or video art that was made at the time when CRT monitors were in use, they were shown on CRT monitors. And I think that is a kind of a visual quality, which really is important to keep. Our idea really is to build a system, build a institution, that this would possible for the next generations. 

[00:22:52] Ben: So something that I think is maybe a common assumption is that this kind of repair is only going to get more and more and more and more expensive and is that really sustainable, but it sounds like maybe from what you're saying, you almost have a more optimistic perspective that maybe this really is more of just a matter of ensuring that people are taught the craft and that's what would make it sustainable or is it something that ultimately will for one reason or another become more and more challenging over the years and thus more expensive and hard to sustain?

[00:23:27] Jochen: Well, definitely will be more and more challenging and will become more expensive like so many things, but, uh, I gave a talk once with a title from repair to prepare, which kind of puts it kind of nicely together because if conservators or curators or collectors approach me and say, oh, we have to repair that. Then my question would be you wanna repair it or you wanna prepare it for future use? Which is a little more complex, but if you prepare it for the future use, you are also preparing yourself for the next repair, for example. This is actually the way to go. It's not really helpful to repair a TV set sometimes you get how I say hidden things that you don't know of. For example, nowadays, it's very valuable, everybody wants to buy a Barco or a Hantarex monitor for displaying um, black and white videos. And there are still a few you can buy, but my advice just open the box and see whether there still is a Barco chassis inside because some of the things on the Barco chassis are quite obsolete, quite difficult to replace and, some repair workshops decided that they just put in a cheaper chassis into the television. So it's like looking at an old, um, 12 cylinder Ford but inside the motor, you only have a, three cylinder motor. It's good to drive back and forth main street, but when you go to the next inspection, it might be a problem. So it's really going into the details and, it becomes more complicated, but it is rewarding also. The real challenge in a way, we facing a triple obsolescence. So one obsolesce is that an individual television dies. The second obsolescence is that there isn't any supply of parts anymore in the number of parts and also in the industry, there isn't any industry to produce these parts anymore. And the third obsolescence is that there is no knowledge how televisions work and how they could be repaired. So this kind of three steps from the actual item that is in display or visible, the parts that are produce anymore. And the knowledge that gets less and less all these things has to be grouped together. And all these three things have to be saved at the same time. So it doesn't really make sense to repair one television set. It's okay for the next 10 years, maybe 15 years. But then the same question would come again. So why not think about what should happen in 15 years at this time.

[00:26:24] Ben: Speaking of which I guess, for anyone who's listening, that is an artist collector or museum that has, you know, artworks that they have to care for that involve CRT monitors. What are some of those things that they can do to prepare? 

[00:26:40] Jochen: Well, they can have them serviced regularly. It might be difficult at the moment, maybe to find somebody who can do that. Maybe you find still somebody, but then you have to learn what are the points? What can be adjusted? What is a weak spot in a way? Within TV there's a flow of electricity just simply said, and if there's one thing wrong or aging, then it readjusts the output of whatever its purpose is and then from there it could be cascading down to make a larger fault and destroy some other things. But if you serve as them regularly, then this will happen much less. And then the other thing, when you have a TV in your basement, in your collection, in your archive, whatever you should make a plan, how to switch it on maybe every half year and there's a certain way how to switch it on. So you just don't plug it in to see if it's still working. That's the way, how to kind of destroy it. But there is a regulation transformer that you can use where you slowly switch it on, and then you pick it up to the right current. A lot of conservators now learn this and, uh, it's a basic knowledge that just has to be spread a little more. You should buy as many TV sets, identical ones that you could find if they're still around, but if you just keep them in the basement, then it's worth for nothing. So you have to maintain them. You have to service them. You have to make up a plan to start them and have them live for a couple of hours or a day or two days during a certain time. These things age in a climatized storage, so you have to be active if you are passive, you have no chance against aging, unfortunately. So you have to actively work with the things. And, um, then they live longer. What I am very fascinated about what Christian is doing is the range of topics that he's covering. That's why I call him more like an artist. It is about electronics. Sure. But it also is about glass. It's about heat. It's about resourcing materials. At the end sometimes it's also polishing the old wood of an old fifties television set. So it's really goes throughout all the medium, the materials and, how to research, how old board is wired and so on. So it's a very deep, knowledge that he has accumulated and he's putting into use, uh, in his workshop. The loss of knowledge part of the work moves to be more like research and a small workshop company cannot do much research in a way or cannot finance this. Since a few months Colorvac actually became part of the ZKM in Karlsruhe and the ZKM will, I think in a couple of weeks, a month will announce that they will open a CRT lab, which first of all will allow Christian to focus also on research, which is necessary to build up elements that are not available anymore, but also preparing the knowledge how that could be made. So it's not really this individual company that you give us a TV and we bring it back and it's repaired, but it's really about teaching and showing people how, what can be done and how it could be done. That's important. It should be a knowledge exchange and also, location where knowledge is accumulated and people could come work and participate and then also bring it to their own circle and to their own museums in a way. And it's a very special thing so there probably will be only one or two uh, locations in the world that will do this. But from there they will be possible to have the , CRT television survive in the next generations.

[00:30:50] Ben: You mentioned early in the conversation that the first video art you ever saw was Shigeko Kubota. And you also mentioned that you have gone on to do some work with Kubota's estate, which I think is just kind of a really beautiful thing, right. That it's the first video you ever saw and now, postmortem you're helping to steward Shigeko's work. But I was just curious if you could, , share with us what kind of work are you doing with the estate.

[00:31:20] Jochen: Well, whether working with Paik and also with Shigeko , it was kind of family business, the easiest description. So and after Paik passed away uh, Shigeko and me we kept friends and I'd visit her quite often. So later with the help of a good friend, when she became ill and passed away, finally, we were able to build a foundation, which is Shigeko Kubota video art foundation that's based in New York. And most of the things in the loft I already had in my hand once, so I took the role of building up the archive for her. And we found incredible things about history, about the seventies and eighties. And open real eight millimeter videotape from the seventies. So it's a very, very interesting experience for me in a way working with both artists for a long, long time. But now after Shigeko passed away, this other window of history opens and for me that's another very new, very personal exciting moment to be part of that. We did, a lot of restoration work in 2020, she had a touring exhibition in Japan and , 2021, she had an exhibition in the MoMA and all the pieces more or less because they hadn't been shown for decades. We had to rebuild, we had to restore, we had to rebuild the CRTs but also there were pieces where we knew we don't have enough CRTs so we have to decide what we do, what kind of monitors are good, what kind of flat screens can be used in a way comparing flat screens and CRTs together, whether that's a good possibility or not a possibility and so on. You want to show a piece for a touring exhibition, then you have to make sure that it also lives through the one year exhibitions. So you have to make a balance in a way. But there's all these details when you really go into this. So it's a little more than just replacing one television with the other, but you have to connect then the new model to the artwork in a way. So we are just a very tiny foundation and at the moment we are mainly trying to save and secure the archive and Shigeko's letters and so on. What I didn't know , although I worked for them for a long, long time, Shigeko had many, many diaries and it's very interesting to read uh, about New York art world in the seventies That's a new window in a way that I experience or that I see at this time. The conservation actually was necessary now and uh, but it also was a big stretch for a small foundation to, to do this. And. So now we have to calm down and get some routine, in running what we are looking at and then probably will be open more for research and people will have access to the archive at some point. And, uh, then that's part, of the aim of the foundation to support video art. 

[00:34:32] Ben: Mm-hmm. So in your introduction, you introduced yourself as an artist and, I would love to hear a bit about your work and, especially, I'm curious, how your experience of, so many years of maintaining video art in time based media, how has this influenced, your practice as an artist?

[00:34:57] Jochen: Well, it's the, all the love for the detail in a way. So my background really is within sculpture, so I really love to put things together. The first year, during my study at the academy, I was really making objects and sculptures and uh, it continued in a way for some time moved to collages because sculptures and traveling isn't really a good combination. So over the time I'm started to collect materials and, uh, made collages. I went to Chinatown very often being in New York and you get this endless array of fruit boxes, which always have the same image, which is beautiful if you like to do serial works. So you get like one image dozens of times. So in the night I was going down Chinatown and, uh, cut out the images from the fruit boxes or the still lives, whatever, and started to make collages. From there I moved on and since a couple of years I'm doing large lino cut prints, which for me is a very nice way to combine sculptural work and pictural or visual work because you are cutting the image really. It's not that you paint with a brush and you put the paint on the canvas directly, but you are cutting the block, and then you're transferring the color to the paper or to the canvas. So it's a more sculptural way of working, which, uh, I feel, very rewarding. I'm rather on the physical side. My start or my connection with Paik was not really that he needed somebody to help him to do the video or the electronic art, but sometimes say he needed somebody to carry TV sets. To be more the physical part, but also he needed at the end, somebody who he could rely on where those TVs ended within the artwork. So although working for this famous media artist, I more or less see myself on the sculptural side. So I don't have that problem. I don't use any printing tools. So I just print by myself. I have no printing machine. And probably one of the reactions on this media is um, that with my own work, I rely on no technical item that is more complicated than a hand roller. What I do is very much also improvising to see what's possible. So some of my prints are like six by six feet, which for lino cut is kind of unusual or large. Sometimes I have 10 colors or so, so it's trying to see what's possible and, pushing the limits of this technology is what is part of my interest in a way,

[00:37:47] Ben: I'm curious what is coming next for you?

[00:37:53] Jochen: Well, that will be introducing the CRT lab at the ZKM and helping to put it in action and connecting it to the various stakeholders in this field in a way. And that is a big job for the next couple of years. I hope. And I hope it will be successful then. From my experience, I think it's so amazing how art conservators kind of cooperate the level of interaction. They have, the level of communication. It's so great. And I hope that will be possible that the CRT lab will become part of this global network in a way that is kept up, by so many conservators of sharing of giving away knowledge also and helping to have the artworks in a way live longer.

[00:38:42] Ben: Jochen Saueracker thank you so much for your time and for coming on the show, it was just so great to hear all of your stories and all of the ins and outs of CRT maintenance and I just really appreciate hearing your story.

[00:38:56] Jochen: Well, many thanks it was an honor to talk to you and, um, I'm looking forward to listen more to your podcasts.

[00:39:02] Ben: And if you like Jochen are looking forward to listening to more of this podcast and find you just can't get enough, remember you can always get access to exclusive clips and behind the scenes content over at our Patreon which you can find at artandobsolescence.com/donate where you can also find the show notes and full transcripts for the entire archive of the show. Thank you as always dear listener for joining us for this week's show until next time have a great week my friends, my name is Ben Fino-Radin, and this has been Art and Obsolescence.