The exhibition Bilateral, Diagonal, Cubical by Sandra Peters at the gallery Aanant & Zoo in Berlin (Germany) presents in the centre a 140 cm high cube. This piece and another works refer to the concept of space from architect Rudolph Schindler. Slide projections show two of his most important buildings of the twenties: his own house from 1921, and the “How House” from 1925. The open form of the cube and variations of smaller cubes relate to the ceiling structure of the interior of the “How House”. The diagonal in Schindler‘s house enlarges and opens the space, giving the place a direction, and takes on the movement of the two central axes of the building. The horizontals and verticals of the conventional room structure are clearly and tangibly vitalised through the dynamic diagonal. In this video the curator and director of the gallery, Alexander Hahn, talks about the background of the show. Sandra Peters talks in detail about the concept of the exhibition. The show runs until January 26, 2013.
Sandra Peters was born in Bonn (Germany) in 1969. The artist lives and works in Berlin. Sandra Peters studied art at the Dresden Academy of Fine Arts (Germany). Her solo exhibitions include: Interplay, Kunstsaele Berlin, (2011); Bilateral – Diagonal, Y8 Hamburg, (2011); Brick- structure, Villa Aichele, Lörrach (2009); Modification – constantly climbing stones, Kunstverein Ruhr, Essen, (2009); Contemporary drawing V (with Katja Eckert & Karim Noureldin), Kunstmuseum Bonn (2007); Drawings on tracing paper, Villa Aichele, Lörrach (2007); Collage drawings, Königstein, Königstein Sachsen (2003).
Sandra Peters: Bilateral, Diagonal, Cubical at Aanant & Zoo, Berlin (Germany). Interview with Sandra Peters, December 14, 2012. Video by Frantisek Zachoval.
Sandra Peters "Bilateral, Diagonal, Cubical"
15.12.2012 — 26.01.2013
Sometimes a simple form is enough to make a complex structure experienceable and create an unexpected order between the viewer, work and space. Aanant & Zoo is pleased to present the exhibition “Bilateral, Diagonal, Cubical” by Sandra Peters from 15. December 2012 to 26. January 2013.
In the centre of „Bilateral, Diagonal, Cubical“ is an open, 140 cm high cube. Its surfaces are divided by orthogonal struts in such a way that the points at which the struts meet each other form a diagonal. The diagonal divides each of the surfaces into two unequal halves, and as a result produces a vague impression of inconclusiveness and movement. The struts of the different surfaces, lying next to and behind one another, cross each other and create new structures depending on the angle from which they are viewed. With every step the viewer takes, the grid and lines of the structure change. The logical form, in all its clarity, makes an ephemeral game of the experience. Cube, viewer and space (the space that surrounds the work, as well as the space produced in the work) are interdependent and connect the form to the here and now.
The exhibited cube depicts one of the 8 to the power of 6 possibilities (within the same diagonal configuration) to connect the cube‘s surfaces. The concrete experience is shaped and held together by a concept that implies 262144 alternative permutations.
In all of the pieces shown in „Bilateral, Diagonal, Cubical“, Peters selectively relates to the concept of space from Rudolph Schindler. Slide projections show two of his most important buildings of the twenties: his own house from 1921, and the “How House” from 1925. The slightly adjusted diagonal, which determines Peters‘ open cube, refers to the ceiling structure of the interior of the “How House”. The diagonal in Schindler‘s house enlarges and opens the space, giving the place a direction, and takes on the movement of the two central axes of the building. The horizontals and verticals of the conventional room structure are clearly and tangibly vitalised through the dynamic diagonal. In Peters‘ open cube, the architectonic dynamization meets the clear and sober language of Minimal and Conceptual Art.
The ambivalence between work and concept, planned and experienced space, sculpture and architecture, is focussed on in the smaller cubes exhibited in the front room. The cubes are placed diagonally to each other, grouped as an ensemble, which is evocative of architectural models, prototypes and the works of Sol LeWitt. Another important group of works translates the structure of the façade of the “How House” into precise constellations of individual surfaces that are shifted against each other. The architectonic form is reduced to a concentrated relief, to an essence of the house‘s appearance: room - cube, cube - surface.
Lukas Töpfer, December 2012