| *To
2: the artists. The works of Elke
Suhr are tightly connected with the concept of this room, which
has
been pointed out already in the first chapter. It still needs to be
mentioned that also the curtain with the floating table belongs there.
Looking at the material one has to think of the awkward irony which for
example the residents of a street like theWandsbeker Chaussee out there
have to have when on curtains which are supposed to cut out the outside
world there have been printed cars on it. Reminded as well though may be the history of painting: often a painted curtain means separation between reality and the imagination or the profanity of goodness - and often the angels themselves look above sucha curtain or open it for better view. *How now do the other artists, Claudia Hoffmann, Sonia Jakuschewa, Llaura I. SŸnner, get to the project? Frankly: there is no clear connection. One could certainly say - and we will show this later with the title 'shortstorys...' - there are no greater connection in art and society anyhow, besides maybe the obligation of traffic rules. But it won't harm, to look at GRENZMARKEN (limit marks), ACHSEN (axes) and LIEBESBRIEFE (love letters) (so the subtitles of those participations of the exhibition) from a traffic point of view. *Then one seems to recognize in the paintings of Claudia Hoffmann wave-like paths through an non defined hilly landscape. The Hamburg painter, drawer and sculptor with a preference for concrete has now lifted negative forms of those paths to sculptors and put those together, so that something has evolved which is either a flower or a fossiled fire wheel. For that she also added dynamic force to the concrete work by applying rolls to the pedestal which actually should supply steadiness. |
*The tile-like small pictures of Llaura I. SŸnner are definite road signs on the search for
tracks for a history. The eye is sent on a journey with supplies and
meets all what resists the driving experience: foreign animal tracks,
filigree plants or massive castles - their outlines at least. And also the felt rolls occupied by threedimensional forms are rather obscure transitory elements with at least one paradoxical effect: would one un-knot them and leave them occupy more room in reality their three dimensional potential for effect would be much less. ( As the reached distance in reality by car turns out less intensive as the pure imagination of it). * Even it is close to a stale joke - letter communication is one way of traffic. Anyways the type of Sonja Jakuschewa refers to the yearlong letter contact between Rainer Maria Rilke (Prag 1875-Montreux 1926) and Lou Andrea SalomŽ (Petersburg 1861- Gšttingen 1937) the Russian writer, who was also in close contact with Nietzsche. The different entwined typos offer a vision of the complexity of this relationship with the simultaneous means of a canvas painting. And on this evening there are also strange relationships: not only that the artist is from Russia, also Rilke was a longtime friend of Heinrich Vogeler, Prof. Jan Vogeler's father. A Russian word is on the picture: 'islomai', what means something like 'break yourself', and which was some kind of miracle word for the two letter friends to free themselves out of situations which were objectively or subjectively felt as stuck. *This leads us to nr. (3): such breaking, splitting up, prism-making is not only a good method in personal depressions. By the end of the last century it had become to a basic attitude. Unlike hardly any other the 20th century was marked by utopias and totalitarian blueprints. Most of them broke - after heaviest blood shed. |