With other sculptures, Fasshauer uses her body to model by literally hugging them, as in the case of the pink cuboid seen in the exhibition. The coloring comes before the molding. The mostly monochrome lacquer color of Fasshauer’s sculptures blurs the industrial character of the material from which they are made, sometimes it is in the greatest possible contrast to it, such as in the work “Tactical Reserve,” in which metallic hardness and pastel softness meet, and with its handle makes one think of a man-sized travel bag. Similar to Schaufler, Fasshauer plays with the associated potential of form, which is just figurative enough that it stimulates the imagination to relate to real things. She succeeds in creating playful and humorous objects from the originally cool, technical material.
The title of the exhibition is a borrowed phrase from the Austrian poet Friederike Mayröcker. She lets this phrase appear in her breathless stream of consciousness whenever poetry threatens to become too clear because it aims to create a certain feeling without going through the mind and thus threatens to become kitsch. The works in the exhibition also have a dual nature: they are based on a high degree of reflection, and at the same time they reach the senses and feelings without detour. Similar to Mayröcker’s poetry, Schaufler, and Fasshauer operate outside of defined narratives that lie outside of art itself. Their art is about art and at the same time tells us something about life.
Matthias Schaufler (b. 1964) was born in Laichingen, (DE). He lives and works in Berlin. Schaufler studied Fine Art at Hochschule für Bildende Künste Hamburg (class of Erhard Walther and Mike Hentz) and at Städelschule Frankfurt (class Martin Kippenberger).
Anna Fasshauer (b. 1975) was born in Cologne, (DE). She lives and works in Berlin. Fasshauer studied Fine Art at the De Montfort University Leicester and received a Master of Fine Arts at the Chelsea School of Art and Design, London.
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