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SUBLIME SPACES BY ARON SLODOUNIK

Sculpture Magazine | International Sculpture Center New York | Vol. 21 | 02

While charting his course to arrive at the pure object, Robert Morris articulated the unique circumstances of sculpture as opposed to painting „Sculpture [has] never been involved with illusionism, he wrote in 1966. „Save for replication the sculptural facts of space, light and materials have always functioned concretely and literally.” Thirty six years later, German artist Wiebke Maria Wachmann installed an austere object of minimal form in a Williamsburg gallery.

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WHITE ROOMS LIKE PICTURES BY DR. PETER FUNKEN

White rooms that seem like pictures, and sometimes like a dream – this is the impression made by many of the works of Wiebke Maria Wachmann, an artist who shifts and alters the relations between installation, picture, environment and photography, questioning the ambiguities of each.

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TO MAKE A BED FLOAT IN MID-AIR BY MICHAELA NOLTE

In her installations, Wiebke Maria Wachmann makes a bed float in mid-air, reconstructs an entire birch forest, turns a room into a bottomless pit, builds rooms with artificial waterfront views, and puts a second moon in the sky, slightly closer than usual. In this way, she combines the fascinating with the uncanny, reality with fiction, concrete three-dimensionality with two-dimensional visual effects, generating both an aesthetic response and emotional ambivalence.

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SCHNEEWEIßE UNGEHEUERLICHKEITEN BY ERIKA PFEIFFER

über die Einzelausstellung „Eine Frage der Zeit“ im Kunstverein Ingolstadt

(english version coming soon)

Der erste Blick schmerzt. Es dauert einen Moment, bis sich die Pupillen an das gleißende Licht gewöhnen. Geblendet kneift man die Augen zusammen, sieht gar nichts. Dann erkennt man den halb herunter gerissenen Vorhang, das beschlagene Fenster. Nur eine kleine Stelle ist frei gekratzt, dahinter lauert Nebel

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