Vitrine I + Vitrine II

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Vitrine I + Vitrine II

9. – 27. September 2019

Vitrine I
U-Bahnhof Gesundbrunnen U8

Vitrine II
U-Bahnhof Kleistpark U7

The exhibitions Vitrine I and Vitrine II of the project space Schneeeule join people from different generations and contexts. Artists meet people active in the realm of theatre, and people with or without handicaps present their work in joint exhibitions. They share a way of working that involves sculpture or installations and involve issues and materials that we encounter every day. The focus is not on creating perfect surfaces, but being able to grasp subjects artistically, to shape them, and thus to exhibit the process of making the objects along with the objects themselves. At issue are diversity and accessibility, not only in terms of the artists invited, but also in terms of the audience, since the glass cases housing the exhibitions are placed in high traffic locations, underground platforms: Vitrine I is located at the underground station Gesundbrunnen, while Vitrine II is located at Kleistpark.

The glass cases are special exhibition sites. The vitrine at Gesundbrunnen is hexagonal and the viewers can walk all the way around it. The display case at Kleistpark is more like a shop window. For the specific exhibition situations, specific works had to be chosen that were striking on their own and yet could enter into a relationship with one another .

Quirin Bäumler works with casts, modelling and transforming negative shapes into positive ones. This results in a wide variety of shapes, often human or animal bodies or body fragments. Bäumler’s works refer to elementary and in part archaic aspects of our existence like breathing and habitation and thematize their handmade creation. Often, the sculptures have something preliminary about them, something unfinished, as if they might still transform into something else.

Mereika Schulz works as an actress at Theater Thikwa e.V. and as an artist at Thikwa-Werkstatt für Theater und Kunst. In her artistic work, she combines both areas, working primarily with the human body. Her sculptures, usually made of papp mâché or clay, are often portraits with titles such as Frau Sannig, Alvaro Dressed as a Berlin Bear, or Linda Weißig, real existing people known by the artist.

Christian Wollert is also a sculptor at Thikwa-Werkstatt für Theater und Kunst. His work engages with various aspects of architecture and design. He currently is working on a series of objects that are based on objects of domestic use: the series already includes a television, a refrigerator, a lamp, and an electric organ. In addition, he has produced artworks based on tourist sights like the Statue of Liberty. He interprets them freely and at the same time makes them the focus of the special aspect of architecture.

Cornelia Glowniewski is also an artist at Thikwa-Werkstatt. Her work often includes references to her travelling, not specific locations but rather being underway and various kinds of movement. The ›ships‹ are created using triangular and rectangular pieces of cardboard that Glowiewski has treated with tempera paint. These result in easy, architectural shapes whose forms recall sails. A grey-painted rectangular papp mâché board laconically bears the title Runway and thus refers to one of the artist’s vacations.

Eva Funk uses various elements to create spatial installations that recall scenarios or landscapes. At issue are open constructions and portable systems that possess a variability, accessibility, and vitality. The objects from the work Kingsize Amigo stretch from ceramic banana peels through abstract potato corners and a hammock. They deal with sexuality and feminist perspective, but also have something slapstick-like about them; humor and social critique mix in a playful yet insistent fashion.