Karin Sander

Karin Sander

Karin Sander Rohkunstbau 2011

In her works, conceptual artist Karin Sander references existing spaces or materials and, in this way, critically examines the creative process of a work. In her oeuvre, latency plays a significant role. She aspires to reveal something previously hidden, not yet evident, and so to create a sense of wonder in the beholder. In her “patina pictures”, a series developing since 1990, she prefabricated white primed canvases. The collectors hang the works at a place they choose themselves. They decide how long to leave the works there, exposed to the prevailing conditions. As a result, the canvases acquire a patina and and this then becomes the real work of art. Hence, Karin Sander continues the original process of creation ad absurdum to a point where the work, as it were, creates itself. This produces a cacle, a new necessity-art is bnot created for the beholder, but the beholders themselves establish the parameters for results which they can then, in turn, view.

In the large garden room at Schloss Marquardt, Karin Sander has encoded a sketch of the rooms an XML-SVG source code and posted this numerical ode on the walls. The letters and numbers spread across the walls in a regular sequence, creating the effect of pattern. The idea underlying this work is that an architectural drawing translates three-dimensional space into two dimensions. Here, though, Karin Sander reverses this process. If the code is run through a computer, it generates an image of the room as a 3D sculpture – and so the letters and numbers, initially apparently arbitrary, actually reference a quite concrete technical product. Yet to the beholders, they appear as a riddle which they lack the power to decode.

Karin Sander says about her own work:
Today, computer-generated architectural designs translate spaces into 3D renderings. My work writes out the figures and sign systems employed to represent and construct the exhibition space, the garden salon of Schloss Marquardt, thus rendering its actual source code visible. Here, the inner architecture of the gallery is depicted as XML-SVG code on the walls of the exhibition space, spelling out the very figures that are based on the volume of the space. If these source-code figures were entered into a computer, the architectural body would re-emerge in three dimensions.
While the series of figures appear to the viewer as coloured patterns, this readable though undecipherable language is a tangible reference to a spatial drawing, which is, at the same time, a drawing of the space.

Selected Solo Exhibitions
2011 Kunststation St. Peter, Cologne, Germany
2011 Kernbohrung n.b.k, Berlin, Germany
2010/11 Labor, Kunstsammlung NRW, Düsseldorf, Germany
2010 Gebrauchsbilder und andere, Kunstmuseum St. Gallen, Switzerland
2009/10 Zeigen. Eine Audiotour durch Berlin von Karin Sander, Temporäre Kunsthalle Berlin, Germany

Selected Group Exhibitions
2010 The Space between Reference and Regret, Gallery Friedrich Petzel, New York, USA
2009 Provisions for the Future, 9th Sharjah Biennal, United Arab Emirates
2004 Singular Forms (Sometimes Repeated), Solomon R. Guggenheim Museum, New York, USA
1997 Skulptur, Projekte in Münster 1997, Munster, Germany

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