EINSTELLUNGSRAUM e. V. Marnie Moldenhauer: Peripherie oder jenseits der Grenze beginnt die Fremde

landmarks like castles, towers, windmills, industrial plants or public buildings as well as landscape formations like cliffs, rocks, sand or rubble depending on cartographic style of the symbols for these they communicate higher plasticity by hatchings.
4. Eventually captions inform about names of places, countries, landscapes, mountains and rivers as well as emphasized details.

IV maps as networks / transport networks
The possibilty of the spacial shifting of modules which we call collage, is adopted by Moldenhauer by means of cartographic representation of cities that are linked with each other in a wall work in the exhibition space in the basement where the sections are put together that indeed a physical net is formed. To produce this situation Moldenhauer used street maps from which she removed all fields with buildings, parks or smaller streets so that only high ways and arterial roads remained. In so doing she assembled a round dance of about 12 cities by creating 'short circuits' between the arterial roads respectively. This fragmentation of city maps and the method of combining deepen what was said above (comp. chapter III) about the

landmarks like castles, towers, windmills, industrial plants or public buildings as well as landscape formations like cliffs, rocks, sand or rubble depending on cartographic style of the symbols for these they communicate higher plasticity by hatchings. 4. Eventually captions inform about names of places, countries, landscapes, mountains and rivers as well as emphasized details. IV maps as networks / transport networks The possibilty of the spacial shifting of modules which we call collage, is adopted by Moldenhauer by means of cartographic representation of cities that are linked with each other in a wall work in the exhibition space in the basement where the sections are put together that indeed a physical net is formed. To produce this situation Moldenhauer used street maps from which she removed all fields with buildings, parks or smaller streets so that only high ways and arterial roads remained. In so doing she assembled a round dance of about 12 cities by creating 'short circuits' between the arterial roads respectively. This fragmentation of city maps and the method of combining deepen what was said above (comp. chapter III) about the	gaps because analog principles take effect in each case even though - in this case - the 'canals' between various 'islands' are bridged by street connections. Notable was that for some exhibition visitors the cartographic view of cities were memorized by experience with street maps to an extent that they were recognized alone by the pattern of traffic routes, without residential areas and waterways. But the sole attention to the organization of the streets suggests also a distorted image of the use of area by streets which simply doesn't conform with the true use of landscape by accen- tuation on street maps. The exaggerated width of the streets is able to display for example the noise that influences within a much wider corridor the people who live in the traffic's zone of influence. It is to be accentuated with this kind of painting and room installation by Moldenhauer is the term 'hybrid' which - being in focus within the year's subject - has become virulent by the interrelation between interior design and painting. With this the meshing of interior design, trade and geological history as well as painting as projection and cartography as symbolization and imagery could become visible.
	Vernissage
Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek
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