2000. Frankfurt. 1822-Forum. Zuckerwattenmaschine, Metallröhrchen, Videosequenz, zerlegter Monitor, Bildröhre 10 cm x 8 cm, Farbfotografie 30 cm x 20 cm, Sound, Boxen

2000. Frankfurt. 1822-Forum. Cotton-candy machine, small metal tubes, video sequence, disassembled monitor, picture tube 10 cm x 8 cm, color photograph 30 cm x 20 cm, sound, boxes



At a cotton-candy machine in the corridor, cotton candy is being made.
Fresh, white cotton candy on a stick is being given to all the visitors before they enter the exhibition hall.

In the hall itself, there is a column from which a hundred small metal tubes project at an angle like quills.
The tubes are provided so that visitors can deposit their cotton candy.
As they do, the column is transformed into a soft, cottony sculpture that extends from the floor to the ceiling. Only when the cotton candy has collapsed some days later do the metal quills again become visible.
Three 3-dimensional drawings consisting of cotton candy that has already crystallized cover the big windows of the gallery and take in the neighboring floor and wall surfaces as well.
In their form – i.e. circles measuring approx. two meters in diameter – they reflect the circular, turning movements of the manufacturing process. Even the adjacent radiators are covered with a fine, semitransparent layer of sugar.

Components of a disassembled, small television hang on the wall. The exposed glass body of the picture tube, about 10 cm wide, shows a video film of cottony, round bodies – only at second glance to be identified as cotton candy – which, like clouds, fly rotating through the picture. Both macrocosmic and microcosmic elements, planets, white blood cells – could be associated or linked with the quiet, endlessly continuing, dreamy sequence, which is only occasionally disturbed by an unpleasant tone  a high-pitched, grinding and painful whistling that swells up and then dies away again.

The only element on the side wall of the room is a small photograph showing an old woman with white hair cut youthfully short, who smiles directly at the observer. Her mouth is painted red in an exaggerated fashion – almost like a clown. She complements the installation with aspects of an artificial, fairground world.

Christine Biehler has constructed a recollection room, where mountains of sweet cotton candy and remembrances of childish vanity overlap. She deals with cotton candy at several levels – a transitory material that triggers memories, is sticky and, as a white, head-sized ball, exercises for just a moment a magically light, white fascination.

The installation’s olfactory and haptic stimuli are intended to attract, seduce and integrate visitors, while the fragility, stickiness and the unpleasant tone tend to demand that visitors keep their distance.
The focus is shifted to the processual and transitory, which are reflected in the architecture and develop an image involving the themes of purity, the sweetness of sugar and the process of growing older.

2000. Frankfurt. 1822-Forum. Zuckerwattenmaschine, Metallröhrchen, Videosequenz, zerlegter Monitor, Bildröhre 10 cm x 8 cm, Farbfotografie 30 cm x 20 cm, Sound, Boxen


...Christine Biehler verwendet in ihren Rauminstallationen, Performances und Video-Skulpturen gern ungewöhnliche Stoffe wie Badeschaum oder Gelatine. Durch Verfremdung gewinnt sie diesen scheinbar bekannten Materialien eine ungewohnte Dimension ab, die spielerisch Surreales streift. Für das 1822 Forum hat Christine Biehler eine Installation aus Zuckerwatte erarbeitet - ein flüchtiger Stoff, der mit vielen Erinnerungen behaftet ist.

(Aus: Die Sparkasse zeigt, wie aus Zuckerwatte ein Kunstwerk wird. Frankfurter Neue Presse, 19.6.00)

Zuckerwatte auf metallenen Stäben verwandelt den Pfeiler in einen Zauberbaum, süße Gespinste überziehen die Fenster, hinterlassen ihre Spuren auf dem Fußboden. Die gebürtige Pfälzerin Christine Biehler (Jahrgang 1964), seit 1991 in Frankfurt, arbeitet mit der Schönheit des vergänglichen Materials (das kann auch Badeschaum sein), das für kurze Dauer den Raum verwandelt, den wir zu kennen glauben, und das sich auch selbst verwandelt. Es kommen dabei die frappierendsten Eindrücke zu Stande. Biehler hat sich übrigens zünftig eine Zuckerwattemaschine besorgt und das Ganze selbst gerührt.

(Aus: Göttinnen in Zuckerwatte und Badeschaum. Gabriele Nicoi )