Excerpt from "Telling spaces" (see texts)

Old and new sculpture collide with each other in the right wing. The difference between object-centred and context-oriented sculpture is played through in almost textbook fashion here, as Helwing creates a fluid transition by means of the open pedestals for Marcks’ figures. In mathematical space these three pedestals are grouped as the corners of a triangle; in experienced space this is sensed (subconsciously) as order. What is evident here is how, under the heading Wesensforschung / Seeking the Essence, the younger artist does not stage the works of his colleague overelaborately, but lets their pithiness of form take effect within the space. The object that Helwing places in the middle of this space appears as a minimal abstract form. On traversing the space it becomes apparent, however, that the form is – metaphorically rather than literally – highly figural. Beneath the hanging form there is room for a viewer to stand, and the form combined with the architecture emerges as a symbol of Helwing’s art being an interface between the viewer and the building.  _{Arie Hartog}

Material:  MDF boards, mirror film, works by Gerhard Marcks (bronze): Fisher Keeping Watch (1945), Shepherdess (1945), Pool Attendant (1947)