For the artist this sensible construction does not only mirror nature but also functions as seismograph, as an expression of the state of well-being of the inner landscapes, the landscapes of the soules. The border between outside and inside has become obvious to Ina Schlafke in the face of the hellmouth of vesuvius near Neapel. Not unlike Karl Philipp Moritz, who 1786 escaped his daily life to Italy and wrote: 'am I really the one who only some weeks back  ...had started every day the same cycle like a horse in a mill?'. So she is magically drawn again and again to this dangerous place of extremes which is very diametrically contrary to civilization. And by this she stands in line with a long famous tradition of italy travelling artists and natural scientists, to name only Goethe, Tischbein and Alexander von Humboldt. The vulcano as picture bet- ween outside and inside shows tensions in the inner earth which can suddenly and uncontrollable break out in an eruption. The vulcano, this incalculable illustrious force of nature with fire, the hell in the inner earth, stands for destroyed nature, catastrophies on one hand - one has to think of the destruction of Pompeji and Herculaneum 79 after Christ-, on the other hand it is of incredible beauty. This extreme natural spectacle, this mirage, beauty in the face of danger, has been served into everyones house media conform at the last eruption of etna. Karl Marx indeed spelled in his polical economy:"Where stays vulcano against Roberts and co., Jupiter against lightning-conductor and Hermes against crŽdit mobi- lier?". In further historical events eventually gods becomes declassed to carriers of advertisments on posters of the electricity industry. If the act of balance of freeing from power of nature through natural science and education has been successfull and if we indeed are on the save side through progress and technic - this is the question of Ina Schlafke.

The vesuvian landscape is also considered as the place of tellurian goddeses of the underwordl und the death. In those worlds chtonical underwordly, unconcious po- wers of other kinds rule. In such an underworld  work Waltraut Kiessner in the cellar, which shows an act of balance of a different kind, is leading us. Her installation is diveded into two rooms, which should be understood though as together. In the the bright room in the centre there is a glas case on white leges, on the facing wall there are two parabolic mirrors like huge magical eyes. In the case there are objects, carefully sorted and archi- ved on bordered album sheets, which enforces the idea of order. A discovery journey  begins: one recognizes the turned over board of the game of the hats, in front of which stands in soldier-like order one red and one black hat. Through the holes of the board screen fragments of figures gleam which also can be identified immediatly, if so with mixed feelings: 'Struwwelpeter' (messy peter), 'Suppenkasper' (soup kaspar) and 'Daumenlutscher' (thumpsucker), the figures of horror of a drilling upbrin- ging of the 19th century from the childrens book of Heinrich Hoffmann. There it is, this world of 'what-to-do' and 'what-not-to-do', of laws and norms. And again and again stencil, embroidery and iron-on patterns appear. One can sus- pect the game to sway between lust and learn principle, it could tip and become bitterly serious. Then there are also objects grouped together, which deal with figures, silhouettes in different shapes and executions. On a postcard there is to be seen a saint shrine  with a 'Fatschnkindl', which is confined, not able to move by this padding of swaddling.  Out of a foil of a photographic negative which captures an official mo- ment of life like baptism, wedding, birthday, death, a figure has been cut out and the cut-out having been filled in with a white glue. It reappears now again as a white anonymous silhouette.

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