A border violation marks the beginning of the path. Two Gibb board corners emerge from within the ostensibly manageable hole that gapes within the wall of Magazin4. Compared to the cascading waves of protruding wall innards that Felix Schramm had disgorging themselves in New York and Miami, this particular intervention gives the impression more of a bashful gesture. Schramm isn’t about to tear down institutional walls. With his shape-conscious works, he formulates the old sculptor’s question in a surprisingly new way: How do the sculpture and its surrounding space relate to one another?
Naturally, Felix Schramm’s sculptures are occasionally reminiscent of the carve-ups that
Gordon Matta-Clark was fond of executing on the carcasses of buildings during the 1970s. Viewed from this line of tradition, however, not much of Matta-Clark’s critical impulses regarding architecture and society appears to have remained active in this particular artist. Schramm, who was born in Hamburg in 1970 and today makes his home, by his own choice, in Düsseldorf, cites as one source of his inspiration the American style of Land Art and refers to American artist Robert Smithson as one of his formative role models.
“My sculptures have been inspired by erosion processes observed in nature. In principle, I’m not all that concerned with architecture, but quite generally, with spaces, with the sculptural issue. I employ basic architectural structures only in order to, as it were, lever them out. I’m more concerned with the question of displacement. I would call it de-categorisation, a kind of dissolution of existing structures, reaching a point from where I may proceed with my work into other areas.”
A catalogue is scheduled to appear together with the exhibition.