House 2015, Gerhard-Marcks-Haus, Bremen

House 2015

Excerpt from "The activation of the object" (see texts)

On catching sight of the Museum’s classical portico, even from the
town it is clear to the potential museum visitor that the exhibition
Christian Helwing: Marcks and the Museum starts long before they
have purchased their tickets. As a result of the spatially offset coat of
black colour applied by Helwing, the intrinsically functional impression
dissolves into a rhythmic image that visitors can walk through. When
viewers do indeed enter the pillared portico, they are not only setting
foot in a museum that sculptures are exhibited ‘in’, but by stepping
through the portico they, too, become part of this encompassing spatial
sculpture. In keeping with this logic, the ‘Museum Shop’ in the adjacent
cash-desk area is also relieved of its function, leaving it a mere pale
silhouette of itself. With a start like this, the artist Christian Helwing sets
clear signals and at the same time points to a complex argument, which
is not only played out between the genres of sculpture and architecture
but also seeks dialogue between his own sculptural oeuvre and Gerhard
Marcks' and ultimately – perhaps even primarily – between the visitor
and the work.

By not accepting the Museum as a neutral shell in which exhibitions are
held, but making it into an essential component of his art, Christian
Helwing shifts the focus from ‘viewing’ art to ‘experiencing’ it.
Yvette Deseyve

Material:  Portico of the Gerhard-Marcks-Haus, black plastic film