The photograph shows exactly what the title indicates: a red curtain of heavy fabric falling on a hardly visible wooden floor. On a closer look, however, the clearness crumbles. The object does not come in three parts – as we might think at first sight – but is a consistent work with a width of almost three meters. And as much as we try to make the light reflections disappear by looking in different angles, it won’t work. The object in front of us is the photograph of a preceding photograph in whose surface the light was mirrored while the picture was taken.

This work, created a year after The Red Curtain, comes along as the strict opposite of the earlier work: Here the dominant factors are the word as such and the color black. A broad bar frames the term “Bildbegriff”, leaving open only the right side, thus making an issue of the art-historical notion of the open and the closed form. A broad, black box puts pressure on the lower, thin, two-part glass plate with the inscription. Already the term “Begriff” lights up the weight of the tradition of the German history of ideas, the word “Bildbegriff” summarizes in a single word major issues of art theories in recent decades. The theme is – in an almost Heideggerian sense – the “grasping” (be-greifen) of art.

The artist explains: “Of course, this work can be shown in several rooms. It should not even be shown in its entirety. There should be a difference between what can be seen and what the title suggests…”

The artist explains: “Of course, this work can be shown in several rooms. It should not even be shown in its entirety. There should be a difference between what can be seen and what the title suggests…”

The work, consisting of countless small aluminium platelets, is a downright overwhelming hommage to light and color: world and light are reflected in all shades and facets. The corresponding synthetic mirror thematizes the ancient topic of art as a mirror of the world – subverting at the same time our habitual expectations, for its mirrored image is distorted and anything but distinct.

The work, consisting of countless small aluminium platelets, is a downright overwhelming hommage to light and color: world and light are reflected in all shades and facets. The corresponding synthetic mirror thematizes the ancient topic of art as a mirror of the world – subverting at the same time our habitual expectations, for its mirrored image is distorted and anything but distinct.

The work leads us through two rooms. The instructions of the artist are applied as a continuous script: SCHLIESS DEINE AUGEN (close your eyes) – SIEH DEIN GESEHEN WERDEN (see your being seen) in the one room, in the other: ZWISCHEN WEISSEM BILD (between white picture) – UND WEISSER WAND (and white wall). An open bar (a reverse of the wall section) makes us aware of the fact that we, indeed, walk through two rooms. We might, if we wish, interpret this as the real, outer world and the imagined, inner world.

The work leads us through two rooms. The instructions of the artist are applied as a continuous script: SCHLIESS DEINE AUGEN (close your eyes) – SIEH DEIN GESEHEN WERDEN (see your being seen) in the one room, in the other: ZWISCHEN WEISSEM BILD (between white picture) – UND WEISSER WAND (and white wall). An open bar (a reverse of the wall section) makes us aware of the fact that we, indeed, walk through two rooms. We might, if we wish, interpret this as the real, outer world and the imagined, inner world.

The picture surfaces are not painted, but printed photographs. The middle panel only looks like a poorly stretched canvas, it is just the photo of such. The photos of the surfaces of the left and right panels are identical, the right is just rotated 180 °.

The red panel remains the same, the colors of the filter foils change from work to work and thus produce different color effects.

Each work may be purchased separately.

The four items of this work may be purchased separately – just like this one.