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Andreas Schlaegel writes about Silke Marohn's work (Back in Town, 2014, Kunsthaus Hamburg): The former draftswoman and architect has
built a bright, psychedelic, walk-in corridor sculpture. It reminds one, not only due to its glowing use of colour, of the legendary fantasy landscape room, Visiona (1972) by the Danish designer, Verner Panton 7, a multifunctional interior which, by using modular elements turned interior spaces into flowing living areas. Marohn’s Fuge also reminds one of a landscape, although in this case, more a chasm. In its structure, the piece owes something to the musicalcomposition element in the title and the inherent stylistic device of imitation and variation of an earlier theme. The coloured walls are divided by projections and reveal signs of expressive sculptural treatment. They function simultaneously as backdrops, against which the artist exhibits a series of mainly dark blue-black polystyrene sculptures, organic forms suggesting the formal language of 1950s abstract small-scale sculptures. Only these are not hewn or cast in bronze, soapstone or plaster, but carved and scratched out of a crumbly, light synthetic material. Partially daubed with gaudy blobs of colour, they hang in front of the walls within handbuilt structures of thin wire which could be extensions, but which are also reminiscent of cages. The corridor sculpture comes across as a narrative in the first person, but it simultaneously suggests an alternative exhibition location, not a white cube, rather an entirely quirky, highly ambivalent space. This space oscillates between the actual location of the sculpture and the depiction of an imaginary place as a backdrop, and thus itself offers an unnerving reflection of art itself and its presentation. It is in the nature of art to be constantly negotiating the boundaries of that which is considered> normal, but only once a boundary has been overstepped does this become visible8 and allow in an outline of our world.

Andreas Schlaegel