post_modellismus – models in art - krinzinger projekte - Galerie ...
post_modellismus – models in art - krinzinger projekte - Galerie ...
post_modellismus – models in art - krinzinger projekte - Galerie ...
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N<strong>in</strong>a Saunders<br />
Smooth Blend, 2001<br />
2 chairs, 73 x 80 x 115 cm<br />
»While I was <strong>in</strong> Denmark, my husband threw away the sofa on which we had fallen<br />
<strong>in</strong> love. I was devastated.«<br />
Objects of N<strong>in</strong>a Sauders are <strong>in</strong>vestigations on consumerism and transfer at the<br />
same time feel<strong>in</strong>gs <strong>in</strong>to objects/<strong>models</strong>, utopia/humour and irony/claustrophobia.<br />
»Because chairs are designed to accommodate the human body, we readily identify<br />
with them. And s<strong>in</strong>ce furniture is adapted for specific environments and conveys<br />
messages about the status, aspirations and even gender, age and occupation of its<br />
users, it has enormous expressive potential.« - Sarah Kent<br />
A togetherness of two human be<strong>in</strong>gs is an impossibility, and where it does seem to<br />
exist, a limitation, or mutual compromise which robs one side or both sides of their<br />
fullest freedom and development. But ... a wonderful liv<strong>in</strong>g side by side can arise for<br />
them, if they succeed <strong>in</strong> lov<strong>in</strong>g the expanse between them. - Ra<strong>in</strong>er Maria Rilke,<br />
Letters to a Young Poet (W.W. Norton & Company, 2004).<br />
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