2001. Installation. Art Association Cuxhaven, Germany.
Ceiling breakthrough, ice, metal footbridge, silicone, mist machine. Anteroom: Parkbench, postcard rack, trash can, wall drawing

 

 

A hollowed-out iceberg placed in and through the ceiling of the misty and icy exhibition room which the viewer can enter on a metal footbridge.

2001. Installation. Art Association Cuxhaven, Germany.
Ceiling breakthrough, ice, metal footbridge, silicone, mist machine. Anteroom: Parkbench, postcard rack, trash can, wall drawing

 

 

The  exhibition room is perceptibly cool. A light mist hangs in the air. Those who walk on the given pathway into the space to the brightly illuminated center of the installation can look upwards and catch sight of a space-enlarging, glistening, white hollow. The cold seems to be coming from this partly humidity-glazed, partly velvety-frosted vault.The normally low rooms of the Art Association building are as such thematized in the artistic intervention and have been extended both practically as well as ideationally. An ice sculpture soars into the first floor and places itself thus not in, but above the exhibition room. Under the viewer there is an extensive line drawing of white silicone which gives dynamic to the surface of the floor and softens it. Jacked-up walking grates lead over the "sea of lines", flanked on both sides by two long-legged boxes from which now and then some steam emerges. The title reminds us of the titles of songs from the German romantic period in which the beauty spots of the “Heimat” (homeland) are praised. The title already indicates that here - in addition to the other spa activities and tourist attractions offered in Cuxhaven - a wonder of nature of a special kind has been produced using ice. The narrative components linked with the strong sensuous impressions of the installation allow us to understand the installation as a hiking tour to a cave or an invitation for an excursion to the clouds; the lines read like a topographic map. Furthermore, we could also be in a polar station where measurements are being carried out with two sensors. Maybe the organic matter that has nested in the architecture is also a desolate gigantic cocoon?A bench, a trash can and a postcard rack in the anteroom remind of a rest area or valley-station at the foot of a mountain. A restrained wall drawing at eye level with white varnish on white wall paint - the panoramic line of a mountain range - is seen to be slightly gleaming but only with a certain incidence of light.“So high above“ moves the viewer into an “ice dome". The longing and needs which one connects with the sight of “untouched nature“ are on one hand enticed and touched, on the other complemented and corrected. However, what seems to be a natural phenomenon, a projection screen for our dreams of greatness and sublimity - the white summit, the ice desert - is in fact an engineer's construction, a mere artificial, neon-lit landscape. Christine Biehler shows “nature" as a “trick and showpiece“, which can only be approached in this installation by catwalk. In this way the perceived situation is brought on stage - “so high above“ becomes the model of a landscape scenery show.