Irmgard Gottschlich
breast-drawing III, 2000
pencil on transparencpaper, 20 x 29 cm 

" the elementary icon of round is not the wheel, but the female 
breast. One could develop a wild feministic imagination about very 
different cultural developments, but the car covered with several 
breast is not meant that serious. Irmgard Gottschlich is more concerned 
about healthy completeness and disturbance of such round harmony. 
The particularly fine and diverse drawings on transparent paper 
have been fastened to the window pane and are being looked at in 
a back light, no matter if by day from inside to the outside, or in the 
evening from the outside to the inside. By this they reproduce a cut 
between public and private, just like for example the situation of 
mammography does, one of the drawings shows this x-ray scenario..." 

From rundRund 
opening speech by Hajo Schiff on 04.10.02. 
Einstellungsraum für Kunst im Straßenverkehr 

Claudia Hoffmann, Delta 13 P / 1488, 2002
Watercolor and aluminium on handmade paper, 175 X 113 cm

The basic motive is according to the flat projection 
of the hub cap delta 13 P / 1488, 2002.
In the square middle field of the picture there is twice the positive 
form to be seen: silver star in yellow round area. The broad border 
areas of the picture show silver negative forms of the hub cap motive. 
The arrangement of these single elements have come about by 'driving 
around' the middle field. These negative forms do form this pattern 
string in a running movement. Clearly to be seen is the rhythmic succession.

Like the mark of the wheel profile so does each hub cup when driving 
make its own visionary pattern. In contrary to the wheel profile this 
pattern is free of technical driving necessities  and serves as lovely 
decorative art for the wheel.


Olga B. Runschke 

"Erde und Himmel sind leergegessen"
(Earth and heaven have been eaten up) 
Installation at a wall or in a niche of a corner 

Child's table, white with pencil drawing, 
Six waste paper baskets, white, transparent, 
An illuminated globe 
Five black and white photographs, children's plates 
Book, white , with ribbons around it. 
Four table sets in holders (wasimmerdas ist). 
Plastic with red apples print 
Birdfeeder house, white , illuminated 
Three white roses 
Headset with story: 
'the blue zeppelin" 

extensions altogether about 250 x 150 x 100 cm
The installation "Erde und Himmel sind leergegessen" 
makes hunger, needyness, longing for food 
of whatever kind, which often is in vain its theme. 

The things and materials of this work have been 
chosen and arranged mainly according 
to substantial  criterias. 

About the roundness in this work 

The disturbed round 
The absence of round 
Pretended roundness - pseudo round 

The hunger 
Of the tummy - the head - the soul 
Hunger for the love apple.

A wastepaper basked has been slipped over the world round.
The plate as food carrier lies in the waste paper basket.
The apples of paradies as print on plastic.


Heidemarie Sischke
nestconstruction, 2002
wood, 400 x 400 cm, 2002

'Animals are able to a vast amount of social and technical 
accomplishments but they did not invent the wheel. I have said that 
before about early human cultures: it does not mean that they wouldn't
be capable of building round shapes. Of course I am talking particularly 
about birds'nests. In the sense of positioning and stating 'home' 
Heidemarie Sischke has been building a large nest since spring 2002
in Bahrenfeld, with a conscious closeness to a busy street. 
With about 4 meters in diameter only the nest structures have been built 
so far, like a bird she collects the building material individually from 
parks nearby. The finishing touches she suspects will take another year 

What this means in relation of movement and stop page, of sensiblely 
constructed roundness  and speedy stop page in visible distance, 
this in its poetry is certainly expressed to anyone obviously, 
especially as this us likely not the first try to do this. And of course 
everything is documented precisely - 
some photographs are there on the wall.' 

Out of rundRund, Opening speech by Hajo Schiff on 04.10.02
Einstellungsraum für Kunst im Straßenverkehr

Llaura I. Sünner
swimming rings, 1998 / 2002
wood, diameter max.33 cm, colour, water basin 80 x 60 cm

The swimming rings should be able to move freely in water body. 
This of course is not possible within a room, a limited spaced exhibition. 
Trial for simulating. 
'it does not aim well': closed signal-red rings (central focus) - moving 
transparent water (osmosis, decentralized). 
Having been sawed out of one piece the rings get smaller into the depth 
of the water, they centralize themselves. Through movement focussing is 
enforced. The floating  of the rings in the water, their movement 
(which is influenced by circumstances outside, like direction of flow, 
wind....) does not make a new aim visible, but a different point of 
view, new concentration. They move tiredly and reduced, as  they allow 
water to flow through, they take their time. 
In the exhibition the circles are put into a water basin, not unlike a 
wash table. The body of water is small, movement 
reduced: static centralizing - flexible concentrating.

Llaura Sünner 2002

Elke Suhr
Benz and Plotin on the go in light and shadow, 2002 
chalk drawing, 80 x 60 cm, 
 silverbromide on cardboard, 70 x 230 cm

"The central cultural significance of the automobile and its internal 
combustion engine has been her (E.S.) concern for years.
Indeed she has found close formal and technical similarities in form and 
function with early automobiles and their first motors with alchemical 
trial configurations and systems of world order. She lays open 
the automobile as an exstasy machine through which 
solid matter is made to move and earthern live is made spiritual into 
air - the oil of the earth becomes cracked
to petrol and is gazed into air. The four-stroke-sequence 
sucking-condense-ignition/=working-exhausting does find its parallels 
as easily in biology as in historical teachings and secret instructions 
of transformations processes. 
In addition there is the shifting of energy from vertical or horizontal 
back and forth  to a circular movement. And one does not only have to 
read 'hin und her' - wrongly read as 'him and her' - on the fat chalk 
diagram over there, to notice the obvious sexual subtext in the the 
order of the machine, which is surprisingly usable for 
safe-doctrine in the 3 photographs next by, also by 
Elke Suhr we do not see energy float out of a functioning machine: here 
thrown-away hub caps are meeting, like exponents of a dark and of a 
light world, und the company sign of the car maker wins its old 
ambivalence back between energy lightning and 
warning sign and reminds even to  a rune, the familiar "S" out of 
"Youngest Futhark", as it should read correctly in a linguistic way." 

Out of: rundRund
Opening speech of Hajo Schiff. on oct. 4th, 2002
Einstellungsraum für Kunst im Straßenverkehr