In The Archives Of Landvermesserin

When artists go on tour, this must be regarded not necessarily as an escape from the confines of the studio

. In the case of Helen Mirra is behind the urge to move the will to seek out the undiscovered treasures along the way.

The method for doing so, it has been copied from the ethnography, documenting only that their "Field Recordings" is not sound in the jungle. The 1970 born in Rochester on U.S. American manufactures in place a physical impression. In the summer of 2010, she roamed for thirty days, the area of Berlin, Bonn and Zurich. On the way, the government took the chance and let them stumble over twigs or stones. The fate of this waste was sealed unassuming nature. Her second life they now spend as objects of an archive that is in Bonner Kunstverein explore applies. Patience and willingness to develop meditation provided, these greetings from the biomorphic afterlife quite an undertow. The work was created in collaboration with the Berlin KW - Institute for Contemporary Art and House Constructively from Zurich, the nearest stations of the show.

Mirra's minimalist strategy is in the tradition of the Arte Povera and Land Art and oscillates between painting and sculpture. Casually formed from the existing outdoor randomness a numerical classification system. Each of the cut on a linen cloth daubed with ink or oil pastel prints 33 has a separate abstract pattern. The hushed many straws work in the exhibition space as the White invaders from a distant geological time. Between the uniqueness and the endlessness of their fragile appearance, they dominate the viewer's amazingly self-confident. The gait is slow, the experience of the land despite the deliberate abstraction and more concrete. That may be because that Mirra revealed as a master of surveying, mapping selected for their respective cities of different units. The eleven works from Zurich are divided into seven parts, and represent an hour of the day's hike. The stock length is the height of the artist, or a tape measure tools are not used locally. In the Rhenish Mountains structures the distance which found, in Berlin it is the number of steps.

In her first institutional solo exhibition in Germany, Mirra prescribed a strict corset. Earlier forms of expression such as film, text and sound collages are entirely absent. Neither idealized nor interprets it passed through the area and is the ephemeral nature of the countryside yet so close that instantly imposes a host of philosophical associations. For details about the course of their Gehmarathons they are not cheap, just as it leaves the profane own feelings in the balance. Subversion is not her business, depersonalized the clarity of their research fits like a glove. Bathed in the soft light casts have no abnormalities. The shape remains mechanically stable, only the lines of shadowy surfaces change the ghostly trail. Mirra was the inspiration for her method of Gyotaku to make the Japanese art of fish prints on the ink-painted body with fresh seafood. In the rapture of her demonstrative nature replicas arises when one out will be a certain weariness. A vague longing for life to come blazing after the fishy smell about that emanates from the traditional Gyotakudrucken. But who loses in intensity with time. What remains is the emptiness of a rigid material in solution, unfortunately, condensed into a relief without qualities.

by: aarenbrowns

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