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connections and developments. Elsewhere, she makes use of an- speak from her multi-part floor object; within it, a maze of cords
cient indigenous peoples‘ knowledge to deconstruct found items and cables mediates between an underwater sound absorber and
or artifacts and transform them into original objects or works from a watermelon in order to make physical and chemical processes
paper. It is striking how imaginatively she uses materials, whether perceptible through the senses in an untried, idiosyncratic way.
historical or self-produced, always appropriate to the subject mat- The disparate materials used in the work explicitly deserve a men-
ter. She produces hanging, open objects made of coloured papier- tion here: preserving jar, underwater sound absorber, fog machine,
mâché, reminiscent of Moholy-Nagy, which oscillate between fe- amplifier, wire, cable, lead, copper, tape, loudspeaker, watermelon,
tish, lampshade and organoid being. She questions the sources and concrete, mattress topper. Canell playfully undermines common
conditions of cultural heritage as much as those of technical and technical know-how by attributing energies to things and elements
scientific products. A black, unfathomable floor object simulates a and by acknowledging their spiritual qualities and magical powers.
threatening monster, perhaps even scorched earth, while small wall
pieces, their name ‚Memoire Interlope‘ no coincidence, appear like While Canell‘s arrangements develop their charm from the sen-
cut open crystalline stones, testimonials of Deball‘s interest in natu- sation of the temporary, Haegue Yang‘s installations made of un-
ral history and cultural studies. Deball‘s works always surprise with used industrial products seem perfectly constructed, despite their
an enigmatic life of their own, inquiring into their origins. multi-part nature. Known for cable-rich, coloured light sculptures
and installations with blinds, Yang‘s work today is broad in form
Alongside Deball, three more female protagonists stand out in the and content – a characteristic that can well reflect the pieces in
exhibition, with nothing gender-specific about them. Their ori- the collection: With ‚Stone Dance – Flat Frontal‘, Yang seduces the
ginality aside, they probably interest the collector and researcher observer into associations that are suspended between amusing
Dohmen precisely because of their proximity to science and their and disturbing; she designs the multi-part, constructive wall piece
socio-cultural engagement. Nina Canell appeals to the imagination ‚Whatever Beings‘ so precisely, as if she not only wanted to explain
when she develops absurd technical constructs that work against the logic of its inherent stereometric form, but also to measure the
expectations. Witty humour, light-heartedness as well as curiosity space with it as a whole; she ‚paints‘ ‚Trustworthy Wave‘ with colou-

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