Pawel_Althamer | Michael_Asher | Nairy_Baghramian | Guy_Ben-Ner | Guillaume_Bijl | Martin_Boyce | Jeremy Deller | Michael_Elmgreen und Ingar_Dragset | Hans-Peter_Feldmann | Dora_Garcia |
Isa_Genzken | Dominique_Gonzalez-Foerster | Tue_Greenfort | David_Hammons | Valérie_Jouve | Mike_Kelley | Suchan Kinoshita | Marko_Lehanka | Gustav_Metzger | Eva_Meyer und Eran_Schaerf | Deimantas_Narkevicius | Bruce_Nauman | Maria_Pask |
Manfred_Pernice | Susan_Philipsz | Martha_Rosler | Thomas_Schütte | Andreas_Siekmann | Rosemarie_Trockel | Silke_Wagner | Mark_Wallinger | Clemens von Wedemeyer | Annette_Wehrmann | Pae_White
Nairy Baghramian’s sculpture provides an opportunity for discussion. What is the function of sculptures in public space? Should they have practical use, or should they create distance to the fabric of the city and insist on being autonomous? Nairy Baghramian’s sober minimalist sculpture does not require words, yet it is right at the center of the discussion seemingly agreeing with both propositions – quite an achievement, even for a work of art.
A metal frame, covered with fabric and mirror glass, reminiscent of a partition screen, divides the plaza with sophisticated lightness into two spaces, though neither could be described as private, since you are always visible to others. The work assumes a function, could be used as a screen – but it does not hold up to its promise, at least not immediately – perhaps the difference created by the partition screen will eventually lead to something different happening on the other side. Entr’acte, the title of the work, implies a dance-like intermezzo between two partners referring at the same time to the temporary nature of the installation.