The Berlin architect, Philipp von Matt, demonstrates the ambivalent
presence of uncompromisingly static architectural structures which
when photographed from a moving car in the streets of Tokyo become
fragile patterns of transience.
of houses is explored in archival aerial views presented by Peter Piller.
As photographic and therefore factual works that are void of any apparent
traces of human life, they evoke a speculative finality. Equally, the
anonymous handyman and model-home aesthetic demonstrated in glossy paintings
on cardboard by Stefan Strunden testify to their rigidity beyond
habitability and architectural logic.
To erect a place in space and time through a three-dimensional Idea
Horst Münch creates allegedly stable places with hermetic
forms containing unsettling hollow spaces. Similarly, the haunted
houses created by Katharina Jahnke float between fictitious
and real nightmares. She explores the theme of houses of destruction that
have long lost their original sheltering function. Dwellings of the soul,
archaic archetypes which, in their anthropomorphic forms, resemble the
birth of long-forgotten prototypes are shown by Leiko Ikemura.
In the tension created between wall and floor tiles that can either stepped
upon or are to be avoided Boaz Kaizman creates a subtle, tactile
game with impermeable accesses and entrances that demonstrate variations
of the room in terms of spatial definition.
In contrast, the single door detached from a totally isolated room
created by Gregor Schneider evokes an unsettling sense of archetypical
hermetic reserve. Similarly, the non-functional awnings objects by Rita
McBride assert themselves through a sense of absurd and surreal dignity
in their overriding aesthetic presence.
of the cozy home
are depicted by Pjotr Dluzniewski in scenes of minute and saccharine
domestic tranquility with inherent ironic undertones. In works combining
delicate pastel tones and stark white backgrounds Katharina von Hoffs
skims the wanderlust allures of home is where the heart is
in a sparse pictorial language. The drawings by Leif Trenkler depict
houses embedded in seemingly endless landscape backdrops that evoke scenes
both bucolic and idyllic, which transcend the realm and limitations of
temporal, perspective logic. By contrast, the fragile yet immoveable psychological
frameworks depicted in the houses drawn by Karl Bohrmann convey
Interiors as Mental and Psychological Living Spaces
Ulrike Nattermüller uses her pictures of interiors to communicate
the peculiar interaction between figures, objects and ornaments. With
the help of perspective distortion and an emphasized two-dimensionality,
living space transforms itself into a stencil-like vacuum of immobility.
The opposite is demonstrated in the very three-dimensional, daring interior
by Peter Sutter in his painted relief-image My Room,
rendered in the highly private and therefore inverted perspective
of individual perception. From the vantage point of his very special vision
and position as an artist, namely while lying in his bed, he depicts furniture
and objects in a surreal, tilted perspective. Sumi Maro's portrays
flat stencils of houses which house painted pictures of interiors
and copied Madonna portraits. His constructed pictures subtly sway between
religion and profanity and position the artist between dilettantism and
Border Markers between Fiction and Reality
The Chilean video artist, Edgar Endress, examines a recent incident
in which an illegal immigrant was shot by Chilean border guards on Peruvian
border. In an extravagant film and video presentation. Endress employs
the confrontation of documentary pictures (borrowed from reports shown
on Chilean television stations) with timeless images of borders, people
and marked territories. By directly comparing these images he transforms
allegedly actual news into frozen icons. The Truth as Fiction
already addressed in the works title makes an attempt to place not
only the identity of the illegal immigrant but also that of the observer
within the framework of abstraction.