She was here at a good time and she had a good time when she was here at the Friedrichsbau in Bühl.
Original facade sections from the twelfth and thirteenth stories of the Haus des Lehrers (Alexanderplatz, Berlin), one piece of floor, one piece of ceiling, vertical video projection.

A pipe runs like an axis through three of the gallery’s rooms, its two ends resting on the railings of balconies overlooking the street and courtyard. The pipe also functions as a camera obscura: On each end is a pinhole that focuses the light and carries a reflection of the exterior space through the gallery’s interior, using the pipe as a medium.

Heike Klussmann shows Pipeline at the DAAD Gallery Berlin.

www.daadgalerie.de

Drive-through exhibition in the Parkhaus Behrenstraße in Berlin. A sheet of retroreflective pavement marking material cuts across the flow of traffic, extending completely across two levels of the parking structure. Flush with the pavement on the fourteenth level, on the thirteenth level it becomes a catwalk that continues beyond the facade to end in thin air.

The centre emerges out of the favelas, its height determined by its structure. A blue expanse stretches across the floor like a model of a city. The city as a village of huts, downtown frayed at the edges? Scraps of material suggesting urbanity? Their arrangement confirms the idea entrenched in one’s mind: areas of order and confusion in a confines space. The gaps between the tiles represent the traffic ravines, Frankfurt for amoebas: the wish for height plus the curse of the surroundings. It is even more reminiscent of the cities of the future featured in the opening sequences of digital games. Glowing colours before pink horizons, light without sources, enclaves of high-tec barbarism in the post-nuclear sand. As everyone lives in tents, the buildings in the centre are functionless, used at most as ritual places for blasphemous cults. Mad Max, the last moralist, amidst an infrastructure of war-torn scrap. Yet the blue denim, the material of dreams and trappers, doesn’t fit the picture. A field of budding flowers scenery for a Western, Dodge City? The Rocky Mountains in the attire of their conquerors, a battle formation at Little Bighorn, freedom, pack-ice, rock’n’roll? Ort he utopia of a cotton field which picks and spins itself, abolishing part of the alienating work and invalidating the blues? A place called Big Nothing? – Sweet dreams are made of jeans.
André Kubiczek In: Heike Klussmann, Hrg. Klaus Gallwitz, Schloss Balmoral, 1998

In the airwell of the Kö106 building is inserted a ceiling of 200 sq.m., completely covered with traffic-light orange adhesive tape. This horizontal section separates the entrance from its dome and the trees from their tops.

Adhesive tape, battens, cardboard, 200 m²

Pick-up sticks are tied together to form a scaffolding whose four points reach almost to the ceiling. More sticks are arrayed behind them, lined up in the joints between the floorboards.

Haus Huth Berlin shows Internal Waves

Streamers, gewebt, 18 x 10 x 3 m

Wax-crayon on A4 paper. Approximately 10 000 sheets overlaying office furniture and walls in the exhibition area and office. Eleven colours: Five, six or seven per piece of paper. There are millions od different possible combinations. The probability of repetition tends towards one.