be taken for columns of a Greek temple at which feet a motorcoach without wheels is making a bare living as a snackbar - inside for example we look onto a curtain on which life which plays itself out behind it is becoming visible as shadow theatre. The already in the exhibition room existing moveable wall which has something of wings because it doesn't reach to the ceiling forms a line with the window dummy behind which one imagines a closed room supported by the free-floating window - a situation that reminds of stage scenery. Lee, Jeon Eun is always looking for possibilities to connect Asian and European influences with one another in her work - here the views out- and inside windows in Seoul are confronted with photographs of the exhibition room here and views out of the window onto Wandsbeker Chaussee. The projection replaces here the normally occuring view outside onto the public area  - it is so-to-say an allegory for this year's subject of EINSTELLUNGSRAUM. The arrangement of the installation allows complex interpretations and many  references to art history could be made - I was reminded first of Magritte's many times varied motif of  a canvas on an easel in front of a window which pictures the view out of the window which is covered by it. Magrittes titles his painting with "La Condition Humaine", 1933. A title which like the title of this exhibition "Das Licht wird Erinnerung" (light becomes memory) points to the dilemma of human perception. We

perceive the world, the picture we have of it,  the world as we  imagine it covers possibly the view onto the true reality - but we cannot help it - we only have our imagination - our picture of the world is the sum of the light which has become memory. Besides I find it interesting how fascinating this window view is. It reminds me of when in my childhood older people made time pass by looking out of the window  - they put a cushion on the windowsill, leaned on it with their ellbows and stayed like that for hours enjoying the 'street theatre'. The work in the basement is ink painting on paper. Like in China or Japan ink painting has a long tradition in Korea which unfortunatly is hardly known due to war losses. But ink painting is still today an important area of study at Korean art colleges which exists parallel to the subject of 'Western art'. Lee, JeonEun used the traditional Korean ink but not the traditional paper which would not cause the gained effect by the here used black light.   Blacklight is beyond the perceivable  area of rays for us and is reflected in visible light exclusivly by fluorescent pigments. Those substances are for example added to washing powder so that laundry turns out brightly white - or anyways added to white stuff and modern stationary and computer papers. Industry does that to fullfill the idea that the general public allegedly has of white color, a white that is lighter and brighter and seemingly cleaner than the natural actual white. The on-looker can thus test by which things that he/she carries around with him/her he/she is meant to be manipulated.

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