This piece serves as a sequel to previous works presented in Japan, featuring artworks that contemplate collapsed houses from the Niigata Chuetsu Earthquake and arranged relics from vacant homes in a systematic manner in the garden. Against the backdrop of the local environment, the artist endeavours to create works that inspire new interpretations.
In this latest creation, the artist works with the actual collapsed house, processing it with wire mesh. Positioned at a certain distance from the shore, within the field of view of passing ships and the shipyard, the sculpture invites us to contemplate the roles of water, geography, production and the memory of urban spaces within our daily lives. In it, a single element rises up, takes measure and connects floor and ceiling.
What might appear to be an archetype of a column is, however, nothing but a large roll of bubble wrap, sealed and tightened to the space by adhesive tape. Everyday packing materials of the art business have, as it were, "taken on a life of their own" and morphed into sculpture and installation. Her intervention in the situation is often minimal and perhaps even "invisible" at first glance. What she adds is self-evident but nevertheless borders on the miraculous. With Hochstapler, improvisation seems to be the director.
The packaging roll is simply placed vertically - but at a precisely calculated point. The adhesive tape holds it together as usual - but it is bright red and "fixes" it in the room as well. The work marks a transition from empty space to exhibition space. Without putting herself in the foreground, but with an ironic touch, she plays around in the delicate moment when nothing more than a little material becomes something that could be called art.
At the same time, she gives Marie 10 something of a motto to follow: concentration and casualness, ambition and accessibility, concept and sensuality. The otherwise hidden wooden panels riddled by its veiling drywalls had become the constitutive elements of this installation-exhibition. Comparably, the works that make up the exhibition frequently touch on the nature and pervasiveness of digital media. Erkmen approaches these topics with a sense of lighthearted skepticism, pointing to both the capacity and limits of technology.
