Anaïs Horn
Fading

Tidal creeks are watercourses that crisscross coastal mudflats. Running between sandbars, they flush deposits out into the sea with the falling tide, and when the tide rises, the water flows back in. In other works, tidal creeks are effectively rivers in the sea. Delving into the implications of this idea, the book presents Kai Schiemenz’s (b. Erfurt, 1966; lives and works in Berlin) major works and projects of the past four years. The publication offers insight into the provenance of selected bodies of work and their genesis. Kai Schiemenz’s art examines the city, spaces, and architecture. His small-format sculptures are self-contained creations that combine digital technologies with natural materials like wood or paper. At the same time, they function as models for expansive installations and outdoor and indoor architectures in which Schiemenz orchestrates sight lines to construct spaces whose permeability makes the audience an integral aspect of the work. If his sculptures are architecture, his exhibitions are landscapes in which the visitors encounter one another as they would in a park. Their central question, time and again, concerns the impact of the built environment and urban landscapes on their inhabitants.

Hesitant yet Immediately Present

As a sculptor, Tamara Suhr (b. 1968, Tübingen; lives and works in Ludwigsburg) has devoted herself unswervingly to the human figure. Her subjects are figures of children whose hesitancy always embodies a certain curiosity, a sense of expectation. In their form reduced to the essential, indeed almost archaic, they radiate calm and serenity—supported by balance with regard to both the motif and possible associations. In their small size and vulnerability, Suhr’s figurative sculptures, painstakingly crafted in bronze, seem apparently in need of protection, yet they appear strong and courageous. They stand, gaze, crouch, fish, swim or balance. They are present, in the here and now, a symbol for the children of the world.