EINSTELLUNGSRAUM e. V. Ina Schlafke, ZuWarten Neue Arbeiten

Paradoxically the construction of robots brings these procedures to light. Here also lays the chance in the long run to be able to understand better the ability of hands and their co-operation with the sensual perception.

Looking closely at the drawing with the title "Unterau 26.7.08, 14 Uhr, 8¡C Regen stŸrmischÒ (Unterau 26th of July 2008 2 p.m. 8 degrees Celsius rain stormy) one sees that the fast flowing stream with its cascades becomes a column in the drawing. The image depicts a three dimensional object that resembles a vertebral column. Highlights in white at this spot even create the materiality of bleached bones. Here the problem of the procedure shows itself - that is why the artist puts it in a relation to her body. It is sympathy that creates a physical image of for example a brook, which means that the stones piled up by the mountain creek/water involuntarily take the form of a spine, or resemblance of a spine during the act of drawing.

b. Image and abrasion / mimesis and erosion
In the drawings one identifies straightaway something mimetic. So also in the above described drawing the silhouettes of the mountain ridges at the top of the image stand out and we identify them as a background that points to a mountain landscape being the starting point. Below those outlines scripture like lines appear which make identifiable that something linguistic is brushed and chronological processes are touched. Furthermore a structure of lines and hatching obtrude that go diagonally or vertically through the image. Considering what has been said so far drawing corresponds with the labor of transport that has been created over the course of the seasons. This also affects the third level of time - the drawing. As we know the first was the perception boosting of plasticity during the ride. The second level concerned the geological changes by precipitation and erosion. The third level then is the drawing itself, because the pencil that follows this process does erode itself doing it and sometimes breaks off or crumbles when charcoal or pastel is used.

c. Geological changes
With this approach Schlafke eludes herself from controversy over idyl. In contrast the works here are an objective approach to current themes that are based on approaches of evidence securing whose integral and
non-ironic view of contemporary nature- and garden art is missed out. It is the integral view that is ignored because of the economization of

Paradoxically the construction of robots brings these procedures to light. Here also lays the chance in the long run to be able to understand better the ability of hands and their co-operation with the sensual perception. Looking closely at the drawing with the title "Unterau 26.7.08, 14 Uhr, 8¡C Regen stŸrmischÒ (Unterau 26th of July 2008 2 p.m. 8 degrees Celsius rain stormy) one sees that the fast flowing stream with its cascades becomes a column in the drawing. The image depicts a three dimensional object that resembles a vertebral column. Highlights in white at this spot even create the materiality of bleached bones. Here the problem of the procedure shows itself - that is why the artist puts it in a relation to her body. It is sympathy that creates a physical image of for example a brook, which means that the stones piled up by the mountain creek/water involuntarily take the form of a spine, or resemblance of a spine during the act of drawing. b. Image and abrasion / mimesis and erosion In the drawings one identifies straightaway something mimetic. So also in the above described drawing the silhouettes of the mountain ridges at the top of the image stand out and we identify them as a background that points to a mountain landscape being the starting point. Below those outlines scripture like lines appear which make identifiable that something linguistic is brushed and chronological processes are touched. Furthermore a structure of lines and hatching obtrude that go diagonally or vertically through the image. Considering what has been said so far drawing corresponds with the labor of transport that has been created over the course of the seasons. This also affects the third level of time - the drawing. As we know the first was the perception boosting of plasticity during the ride. The second level concerned the geological changes by precipitation and erosion. The third level then is the drawing itself, because the pencil that follows this process does erode itself doing it and sometimes breaks off or crumbles when charcoal or pastel is used. c. Geological changes With this approach Schlafke eludes herself from controversy over idyl. In contrast the works here are an objective approach to current themes that are based on approaches of evidence securing whose integral and non-ironic view of contemporary nature- and garden art is missed out. It is the integral view that is ignored because of the economization of	landscape in times of neo-liberalism when profitable values of leisure and entertainment interests push back ecological aspects. As from the point of view of the EINSTELLUNGSRAUM breaking (subject of the year is 'Bremsen' = breaking) is hip the question in this exhibition remains - also for the artist - why just the inhabitants of the mountain regions, to whom her interest is directed, show so much sympathy towards the speeders and those politicians who opt to straighten the roads. Maybe in the drive for dispersion between 'ZuWarten' and technic-industrial development the inner conflict is expressed which besets the people in phases when the new attacks the traditions. III. A precipice is opened up Geological changes are like other natural processes uncomfortable, dangerous, abysmal, uncontrollable and aggressive. The effect possi- bilities of events affiliated with this - like earthquakes and floods - one wishes to gate out of course when one believes or takes oneself into being able to control risks and wishes to let only those things come near oneself that have a relaxing effect. To satisfy such desires a branch of the contemporary landscape art orients itself at the idea of idyl which can be a construction of landscape, which ready has left behind the catastrophe to explore places of comfort in the anticipated ruins (compare to the crate in WALL-E *). To put the mirror in front of themselves in it nature is called up by the protagonists of idyl for them to recognize an image they wish they had. Admittedly the producers of digital landscape constructions - be it for films, games or exhibitions - know about the impossibility to dominate nature, because just therefore they search for interesting surfaces they are adequate to cover the fathomless. Even with Google Earth the assumed authenticity serves to broadcast an image of landscape that gives everyone the awareness to have access to any place on earth without knowledge of context. From the distance of space the actual situation on site remains unrecognized without detail knowledge. Whilst the commercially oriented imaging methods cover the fragile, the abysmal and the menacing Schlafke works her way through the surfaces - which can have a dangerous effect for people because of irregularity - to reveal the inner scaffold, the sceleton of the weak balance with its leverages. Then short term interests do not count much whilst the experience gained in thousands of years remain valuable. In times of danger it is life saving to know where erosion incidents are to be expected and where the mountains are stripped because it is about the right place, about being protected from geological movements.
*Film by Andrew Stanton, USA, 2008 http://www.imdb.com/title/tt0910970/	more pictures of the installation Vernissage
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Supported by the cultural department of Freie und Hansestadt Hamburg and district office Wandsbek