Susanne Tunn


Felix-Nussbaum-Haus/Kulturgeschichtliches Museum, Installation on top of the roof of Villa Schlikker and in the Anette Röhr Gallery, Osnabrück, 2004, DE


(…) In Susanne Tunn’s practical sculptural work, it is very seldom that the artist builds or constructs. In reality she is usually confronted with stones varying in type, age and structure. In the process she attempts to discover over long periods of time how the real skin and the body of a stone can be revealed. Additive or constructive processes are rarely present. With Atem Susanne Tunn is involved with the material in a different way. New constellations and relationships are built stone by stone every time. Relations are created between the view of the sculpture from below and the experience of being on the roof platform in the middle of the ›landscape‹. Dialogues develop between the constructed components and the overall appearance of Atem. Distance and closeness, transparency and opaqueness, shape and shell, time, climate and change are the sculptural parameters of this work. (…) The works META and ATEM are similar not only with regard to the material used. More important is the precise and accurate perception which Susanne Tunn employs to develop her works in both cases. It is not the perception of a photographer who celebrated the moment. Her perception is tactile, synchronous, time-conscious, inert and synaesthetic. In ATEM and in META Susanne Tunn’s sculptural perception builds full-scale columns. On the one hand columns as part of an architecture of the sky, on the other hand columns as potential (protection) space for people and their history. The cylinders of both works are containers of space, light, reflections, time and air from within and without. Concurrently, these columns embody the attitude and thoughts of an artist who consistently attempts to question and to investigate the topicality and necessity of sculpture in art and in our society.

Philippe Van Cauteren
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