Julia Kröpelin

Julia Kröpelin’s artistic process draws on an inner archive of snapshots of her immediate surroundings. The central theme of her artistic practice is the leitmotif of movement, as experienced in both the real and the imaginary worlds. The movement captured within the image creates a moment in time that allows the imagination to drift into an inner world of ideas, right to the limits of conscious perception, lending the works an ephemeral quality. In a fragmenting visual process, she breaks the motif down into its constituent parts, only to reassemble it layer by layer into a new narrative using drawing and sculptural techniques. In dialogue with the (exhibition) space, the work fuses drawing and sculpture into a coherent whole. Her practice moves fluidly between drawing, sculpture and installations.

4.120 second A . ehibition: q/BOVE BERLIN Kupferhalle des OTS / IDStudios X
In the immediate vicinity to the Hohenschönhausen Memorial in the restricted area of the Stasi in Berlin stands the big building of the Operational Technical Sector. On the second floor, completely enclosed by concrete and windowless, is the former hall for semiconductor technology. A skin of copper sheet metal additionally shields this place, the Copper Hall, hermetically.

In the 4120th second of the film “L'éclisse” (Michelangelo Antonini, 1962), a detail of the film set's scenery transcends the distance of space and time and becomes part of A.'s experiential space. While the lights of the film are still reflected in the glass beads of the necklace, the outline of the object bulges plastically into the wall of the big box, where it takes on a surprisingly tangible presence. The image of the necklace detaches itself from the surface of the box and shrinks to fit around A.'s neck. The location of A. is open. 4,120 seconds contains a sum of experiences and ideas. The origin, present, and future of things float with A. in spatial and temporal disparity.

"ha ha – pipe" is a spatially expansive model situation that creates many different facets of possible physical relationships. It is a site-specific presentation that enables the body to transform – to turn, to freeze, to flee, to fade, to accelerate, to fly and to somersault.

Roman Zheleznyak, Mental Space 2016