Judith Fegerl contests the given. Remodeling the materials\u2019 structures and textures, her sculptures often take the shape of spatial interventions. With great sensibility for the undercurrents of tension in supposedly simple unities \u2013 such as metal rods, the exhibition space, the institutional body \u2013 the artist lets these tensions take the lead.<\/p>\n
Levitating just above the ground, a steel plate is held up by metal poles suspended from the ceiling. The transient connection is provided by copper wires that have become electromagnets. The electric tension does not only connect the steel rods and plate but also puts ceiling and floor in a state of attraction, at least for an indefinite \u201emoment\u201c, as the title of the work suggests.<\/p>\n
The artist is not looking for easy solutions, but forges complications instead. A semipermeable wall is extracted from the upper gallery so that it opens up the view onto the Kunsthalle\u2019s courtyard. Simultaneously, a glass roof is semipermeably closed and the fallen and folded wall throws itself into a pose in the lower gallery.<\/p>\n
Judith Fegerl\u2018s working processes cause cracks and fissures just to provide occasions for new configurations. Delicate aluminum poles are cut up, welded back together, lined up and stabilized into vertical position by means of adhesive paper tape. Glimmering prostheses and spatial drawings cross and permeate the TAXISPALAIS \u2013 vulnerable, graceful and brutal at the same time.<\/p>\n
Curated by Nina Tabassomi<\/p>\n
A catalogue will be published on the occasion of the exhibition.<\/p>\n","protected":false},"featured_media":642,"parent":0,"menu_order":0,"template":"","class_list":["post-885","ausstellungen","type-ausstellungen","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\n