Even years later, we remember the impression of a room even if we have forgotten details of its design or furnishing. Its expanse, its light, the sound of footsteps, maybe even the smell remain things that can be recalled in thought – not only as an image but rather as an emotional entity that is anchored in the physical memory. Similarly, the subjective, physical experience of a room enables us to imagine spaces and mentally to move within them, even though they are only imagined or in produced in model dimensions.
The fact that Hängung #18 – Räumlichkeiten (Spaces) takes as its content the perception of a room and makes connections to architecture in general is due to a small but crucial structural change at KUNSTWERK. In the exhibition, the artistic contributions of Rolf Wicker and Katja Ka – in different dimensions – reflect sculptural and architectural aspects. The works by Sinta Werner and Julius von Bismarck contain altered spatial perspectives. Architects Peter Weigand and Lukas Lendzinski, who work under the company name Umschichten (Restructuring), experiment with a modular system and present different plastic spatial constellations during the exhibition period.
Level 0 and Level 1 | Altered Perspectives of Space
In the the works presented in the entrance area and on level 1, altered perspectives in and of the space form the central aspects. The Top Shot Helmet of Julius von Bismarck provides a bird’s eye view of oneself. Physical and optical-visual perception of space and spatiality are thus uncoupled from each other and demand a high level of adaptability in movement. Multiple perspectives also characterise the photographic works of Sinta Werner, who combines two and three-dimensional aspects with one another and thus understands how to provide a mixture of real and engineered image realities in their simultaneous architectures.
Level 2 | Space Between Architecture and Sculpture
The works of Rolf Wicker and Katja Ka are presented in the hall on level 2. As artistic confrontations, they meet in the tension area of architecture and sculpture but differ essentially in the scale of their works. Wicker’s installation is extensive. Its spatial designs, derived from the example of the structural shapes of the Basilica of St Clement in Rome, can be experienced in the flesh as you move and linger within them. By contrast, the Retrouvagen by Katja Ka have model dimensions. They take the character of fictitious architectures, the monumentality of which is conveyed imaginatively. The title of the series of works, which is derived from the French “retriever”, in English “to find”, refers here to what is found both in the material used and in the creative process.
Level 3 | Changeable Space Systems
With the contribution of Lukasz Lendzinski and Peter Weigand, a so-called “open project” is included in the exhibition at KUNSTWERK for the first time. The name of their architectural practice, Umschichten (Restructuring), is the agenda. Their concepts, which are newly developed for every place and mostly temporary demand, are based on the use of existing elements that can be returned undamaged after use. At KUNSTWERK they allow different special constellations to emerge in three phases from reusable construction modules, each of which produces new spatial experiences. Their project is participative insofar as visitors are able to follow the changeability of the system for themselves. The restructuring work takes place in mid-March and early May.