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Being apt to
view this installation as a model of the universe we could note here as
there regions of various density. There are clusters of objects and the
strings connecting them. The whole thing is essentially not moving but
for us humans the universe also appears not to move in its cosmic
expansion even though the gigantic masses there are on the go with
enormous speed actually and many celestial bodies are even in
calamitous states of development: galaxies crisscross each other,
matter ionizes, unite to form new stellar systems, or clusters of stars
collapse to form new gravity islands.
3. Take in dimensions* If we relate
to the universe we are dealing with unimaginable measurements and
speeds. But when we look with our eyes from our planet earth to the
stars everything looks very delicate. This is especially the case when
we use aesthetic means. Let's for example look at the fantastic
photographs that are constructed from data of the space telescope
Hubble that with their gaudy colorful structures humiliate any painter.
The view into the micro and macro cosmos which was initially in the
hands of the artists has anyhows become an imagine giving
technology that grabbed the aesthetic dominance for itself
so that for the artists only the leftovers of the exploding cosmos of
aesthetics have remained. The basis for the crisis of art lies in the
shift of the dimensions by the media:
-something
distant appears close, something small appears large
and vice versa -high speed
close to lightning speed appears frozen
-endless
masses meet us in pictures and films and seem close
Lets stay realistic and lets look up!enough to reach. Above us we have a cosmos: a cosmos of finds that Bromma has installed floating above us. Thanks to the many braking acts with her bike she recovered it from the garbage that circles undetermined on the streets and paths, and mounted it in a shape that has to be unlocked yet. |
When we look
into the net and through the material texture we do not see a wheel
shaped net with a center. Threads are wired here in the whole room and
in-between clusters conglomerate. Thus her net is not hierarchic
because it contains seemingly chaotic clumping that ask for more
attention than the thinned-out areas where interlaced pieces of cables,
wire, cord, styrofoam, plant residue and tin emerge as moving lines and
appear as dancing bodies. The agglomerations on the other hand remind
of fishing nets as one finds them occasionally on beaches entangled
with thousands of things. What hangs here above us though is not a
product of hap- penstance that informs us about areas of the ocean
through which it has been driven by currents, but these clusters here
are concentrates of previous exhibitions of the artist.
It is amazing to experience Bromma in her work of reminiscence. She stands below the nets and discovers an unimposing shred of metal or plastic in them and then says that this fragment of a household colander was exhibited 2003 in Nuremberg. A screw top hangs in another cluster and Bromma knows instantly that this belonged to the installation in Hildesheim 2002. So it goes on and found is a blister packaging that she collected during her stay on Iceland when she was on an Erasmus scholarship in 1994. Even an empty glowing green gas lighter she relates right away to her exhibition in Hannover 2004. These installations were gathered when disassembled what condensed the unobstructed and airy compositions. Kept in this way every exhibition - though stretched out in space temporarily - stays available as concentrate. In this method for me is the specialty of Bromma's installations that differs from the works for other material artist. Whilst Gerda Steiner and Jšrg Lenzlinger spin a cloth from botanical and industrial artefacts of various provenance and create aesthetic effects with materials from the building supply store Bromma is looking for the trace. She connects the finds from her paths with her biography so that the nets that are populated with things intertwined with her life trail form inscriptions. The nets are a system of memory. This is underlined by the orange-colored threat she brought along |
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*the German word 'einstellen' plays
here with its several meanings - to put into, to exhibit and also
to adjust back
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