Discussion with the artists on the occasion of the exhibition 'Displaced Fractures'
The two artists and the curators of the exhibition Displaced Fractures', Heike Munder and Thomas D. Trummer, speak about the changes that the term 'sculpture' is currently undergoing and contextualise the artists' works accordingly. Since the 1970s, Phyllida Barlow (born 1944, UK) has grappled with sculpture and installation and from that time has worked, in the tradition of the post minimalists, against the heritage of the auratized object. In her works, raw materials pile up into dense clusters of forms. In part bundled into dwellings, they persistently display an elementary physical presence, and for a long period have not only supported the smooth aesthetic of minimalism but have stood in precise opposition to the polished and popular aesthetic of a Jeff Coons or Haim Steinbach prevalent in the 1980s. Kilian Ruthemann (born 1979, Switzerland) subtly confronts the architectonic properties of the exhibition location in his works. The aesthetic of his works is determined by the exposing of structures and a search for the unstable and fragile in the seemingly fixed. In the attempt to elicit the unseen poetry from the spaces, he at times uses brute means. (Image: Kilian Ruthemann)