Monika Supé
ICUL CTION C o n t e m p o r a r y
A r t
R e v i e w
Winter 2016
ed to a functional aspect of art for society and audience. It only has to be discussed if works are shown in the public. But first of all everything I do and produce is its own purpose. I like to experiment and while working I can reflect, it’s a marvellous state of being even if it is arduous. As I have said, I want to look for explanations too. That’s why I would agree with Gerhard Richter. I wouldn't go so far as to say that explaining is the functional aspect in my work. My functional aspect is founded in asking. I hope to stimulate the viewers to ask themselves and to get into conversation with others. In our age of globalism things are so deeply interwoven so that the main thing is the interchange of ideas. Another interesting work of yours that has particularly impacted on us and on which we would like to spend sme words is entitled Körper und Hüllen 2: this piece induces the viewers to abandon therselves to free associations, looking at time in spatial terms and we daresay, rethinking the concept of time in such a static way: this seems to remove any historic gaze from the reality you refer to, offering to the viewers the chance to perceive in a more atemporal form. How do you conceive the rhythm of your works?
After having created objects crocheted in wire which are meant as shells or casings, I take pictures of them in use: People slip inside and explore them with their own body. It’s very interesting for me to see what other people check out and how they move. With intend to preserve this process I attempt to “give a visual trace to time” and this trace is drawn by movement. So I have the possibility to conserve something vivid which is passed, it seems like frozen. Each time I look at them I am surprised: I sense
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