The dress becomes a metaphor for confinement, dress-up, wraper, performance. One finds a stockpile of wafers: a child in a playpen, cats and dogs in dresses, being made cute and kitchy, can be seen. A picture of the dancer of Degas brutally shows the extreme between the fluffy appearance of the costums of the dancer, the 'tulle-tuetue', and the discrepancy to the maltreated, flayed  body of a child. The effort to make cute and beautiful of the damaged soul is covered up by the costume, dress as dress-up. With Waltraut Kiessner the figures are often damaged, burned, hurt. A book with the much-telling title 'MENTOR', an old ca- lender for notes for pupils from 1870-95 lies next to it, its frontpage are adorned by symbols for knowledge and education. Finally there are the hands of the hat game in the case: one lies open, colorful and ready to play as catapult, the other, turned, not able to be used, appears grey, like a silhouette and has been paired with a symbo- lic butterfly. On the glas lid of the case there is writing in white, a sentence from Peter Handke play 'Kaspar' "Ich mšchte ein solcher werden wie einmal ein andrer gewesen ist." (I would like to become such as another has been). The words of this sentence cover the objects in the case meaningsaturated as massive shadow. With Handke Kaspar is not an historical person, being made a theme by his noble heritage as Kaspar Hauser, but rather a pedagocial aboratory object. Those called by him as 'einsager' (drillers) train and drill this helpless being. It is all about the important question, if knowledge makes free in the sense of enlightenment (historical period), or if Kaspar having been trained is a victim of order and norm of society? What does disobedience, anarchy or discrepancy  bring? The case in its sterile environment reminds at something in a museum, a sickbed, a glas coffin, a 'Zivilisationssarg' (coffin of civilization), in which materials of the social process are presented by having been put like into a coffin.

The parabol-mirror on the wall, bearing glued on butterflies and foils in shapes of figures, appear like shadowed secrety eyes. They suggest selfreflection, self mirroring or control and watching. Whilst the bright room is felt like breathing in and out (corresponding to the rythm of the motor: suck-in/ compress), a high pillar, on which lie piled up white clothes leads to an other-world. Through a door slit one looks into the dark of the former low and coal basement. The contrary motion, the breathing out (corresponding to the rythms of the motor: spark/exchange/exhaust) is presented. A timely lighting of intervalls lets appear, flash up and die away an installation, which has been worked onto a base of phosporus. Visible becomes an overtly long dress, a rituel dress, a death dress possibly, which lets imagine a long journey. At its end it turns itself upwards, changes, becomes three-dimensional and throws an organical shadow onto the back wall. The subject dress as a basic problem follows through the work of the artist. Igniter for the dress as metaphor was a figure of the altar of Bordesholm in North - Germany for her, which is presented once with and once without a dress. This figur did become a key for the enhanced dealing with the theme of figure and dress for the artist. The dress is not seen as a social symbol of status and representation in the sense of a performance, but stands for processes of change, passing through stations, layers, skinnings, as metaphor for 'formation' and 'de-formation', 'creation' and 'de-creation'. Thankyou for listening and I hope You have a stimulating visit of the exhibition.

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