250110: Haus am Waldsee: Corinne Wasmuht: Supracity

Haus am Waldsee: Corinne Wasmuht: Supracity Fathomless traditions If one perceives paintings as a user interface, one could end up being faced with the user’s personal circumstances. Today’s user is familiar with motion pictures and equipment that links him to these, independent of his/her location. While the speed between the locations has increased, the length of stay has decreased. Being able to create this spatially dispersed effect on a flat surface can be regarded as highly user-minded, and Corinne Wasmuht’s merit mainly constitutes itself through the invention of a visual effect, which allows both the amplification of human access and regardless of the location. “Pathfinder” (243x243, two-part, oil on wood, 2002) deals with superimposed and interlocked levels. A second path towers over of a central-perspective street view leading into the picture’s interior. Hazy pixel-like skyscraper facades are recognizable whose bases remain vague. Numerous light blotches remind of metropolitan traffic motion. A reddish-blue mountain landscape emerges in the background, but its accessibility seems questionable – actually it is a failed attempt to take a picture of the Mars' surface, and the camera’s own parachute was photographed instead. What is left are impressions of speed and forlornness; weather does not exist, nor does daylight - if it weren’t for its format, this could just as well be a game console. The other two large format paintings displayed on the lower floor of the Haus am Waldsee also confront the viewer with a fractal world experience. If something like hopelessness of Modernism exists, the viewer is taken in and validated – as far as the disembodiment of those who are only discernible through the careless arrangement of their clothes’ folds. In the upper rooms there are earlier works, in which the spatial fragmentation gradually develops, but doesn’t raise the immediate claim to put the viewer into this situation. “Microscopic Anatomy” (254x381, three-part, oil on wood, 1994) is a bird’s eye view onto a pastel coloured container-scheme landscape, which develops its own Dadaist thrust. The discrete setting of shadows and the meticulous elaboration create an effective contrast to the size of the painting. The catalogue describes Wasmuht’s work as having eliminated the hope of taking refuge, something which painting was able to mediate before the secession of Modernism (“broken mirror”, as Stephan Berg wrote). The place for utopias is exhausted – the non-location has been reached. Should we, now enlightened in this way, substitute homeland by a GPS? By Gesche Heumann Haus am Waldsee 14163 Berlin, Argentinische Allee 30, until 21.02.10 http://www.hausamwaldsee-berlin.de Next venue of the exhibit: March 11 – May 16, 2010 Kunsthalle Nürnberg www.kunsthalle.nuernberg.de

Haus am Waldsee
14163 Berlin, Argentinische Allee 30
Tel: +49 30 801 89 35, Fax: +49 30 802 20 28
Email: info@hausamwaldsee.de
Öffnungszeiten: Di - So 11-18 h

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