Arne Klaskala and Lily Wittenburg represent different positions and approaches, thus only the graphical character of many of their works and the preference for the color black turn out to be connecting elements. The exhibition at the Kunstverein Harburger Bahnhof is their first presentation together. The dynamic of their encounter is the result of differences and mutualities. By using different technologies a location-dependent, artistic dialogue emerges. Out of the interest in the materiality of surfaces and architectual forms, an installation derives, which topics around transmissibility and demarcation. The viewer is not facing a work of art, but an arrangement which allows the viewer to look for own perspectives. Between clear settlings and doubtful fragility, the production becomes almost a physical experience, which feeds back directly to the perception of our urban routine.
Arne Klaskala (b. 1968) works as a sculptor (often in form of location-dependent installations) as well as with the medium of staged photography. The clash of known and unknown set pieces plays a major role in his works. The color „high gloss deep black“ serves as a connecting and recurring element. His photographs show exciting and not clearly defined compositions in dark rooms. The sceneries are initially built as models and seem to correspond with apparent standards. In the reverse case, his objects (oversized signes, at times freestanding, other times growing out of the room) inhere something stage-like. They seem to transform the real space into a hundred times enlarged, surreal situation.
The language of form of the black-white serial drawings of Lily Wittenburg (*1984) is nurtured by the penetration of nested questions regarding the relation between culturally constructed spaces and imaginary architecture. Her graphical investigations and drafts balance between sober clarity and detached imagination. Spatial possibilites are worked out from changing perspectives and the overlays get newly-arranged. The layering leads to surprising shiftings, which often ends in the blasting of all three dimensional parameters. The artist uses special material textures (such as Aramid combs used in airplace construction) to examine the claims of ther drawings in real space.
The conception of our exhibition initiated in may 2010 responds to the location of the Kunstverein as „room in the room“, as „parallel universe“ situated directly in the train station above the tracks 3 & 4, by further pushing the principal of nesting: A 24 sq large and 4 m tall cube was implanted in the 300 sq former waiting-room, which forms an enhanced contrast to the existing differences.
The term »gefangenes Zimmer« (captivated room) is used on Hamburg’s housing market to describe a room which is only accessible via other rooms. This spatial quality corresponds with the experience of the exhibition architecture which is going to be the same for all the projects in this row: a 24 sq large, 4 m high room implanted in the pompous and with patina saturated, former 1st class waiting room hosting the Kunstverein since 2000. Two artists at a time are asked to use the new spatial situation for their work.
Images: Michael Pfisterer