Guten Morgen Erwachen. Some elements forming these sculptures are 'old': parts of tools, metallic objects, sections of partitions with wallpaper still attached, pieces of parquet salvaged from a condemned or already in ruins house. Other elements are newly produced. An archaeology of modernity.
Guten Morgen Erwachen
The work of Katja Strunz appears to be abstract. However, it can be narrative too, sometimes because of the way the artist arranges a group of works for an exhibition, generating 'correspondances' that tell a story.
One can uncover references in her work but they are lightning-fast vehicles that appear only transitorily, regenerating themselves in the entirely new oeuvre.
One could also say that colour is absent from the work of Katja Strunz, then suddenly an isolated red, crimson or orange appears, illuminating, creating a rupture.
Some elements forming her 'reliefs' or sculptures are 'old': parts of tools, metallic objects, sections of partitions with wallpaper still attached, pieces of parquet salvaged from a condemned or already in ruins house. Other elements are newly produced.
Either Katja Strunz associates in some of her works these old elements, found, torn out fragments, with contemporary industrial or handicraft elements that she conceives or she creates works made of entirely new materials or yet others composed exclusively of old ones.
Her work is both original and informed by her own archaeology of modernity; in this way, it is situated in the present like an astonishing, beautiful film that is constantly evolving, whose time superimposes itself on the time of Berlin of today in which future, present and past rely on each other intensely. "The origin is a whirlpool in the stream of becoming"*
* This is a quote from Walter Benjamin's The Origin of German Tragic Drama.
Galerie Almine Rech
127, rue du Chevaleret - Paris