Technicolor: a) Feld, b) Fläche
December 19, 2014 – February 8, 2015
Marburger Kunstverein, Marburg
In Technicolor: a) Feld, b) Fläche, Madeleine Boschan has assembled an installation of eight sculptures which were presented in their entity for the first time in December 2014. This nascent series concentrates and maps out her primary pictorial vocabulary (standing, reclining, towering, tilting, arching as well as expansion, contraction, colour, form, measure, and positioning). For in a prudently arranged turn and, particularly, in contrast to the gestalt-like linearity of her prior works, she addresses herself to purely planar bodies.
The eight sculptures are situated residing freely throughout the given space in utterly different phenomenal or elementary states; each for itself, yet, constantly in relation to each other. As the exhibition’s title indicates, the vantage point of this endeavour is »Technicolor«, the additive / subtractive manufacturing process of colour films. Inseparably, Madeleine Boschan has incorporated Technicolor’s base colours (red, blue, green, yellow, magenta, cyan, + black and white) into her forms. Colour is, thus, not just appended or appliquéd to the sculptures; rather, the specific chromaticity, being an immediate part of the sculptural operation, originates its very own specific forms.
Since the 1950s, Technicolor has been the colorous horizon both for individual melodramas and supra personal grand histories opening up a vast field of sentiment and monument. Boschan advances these constitutive mutual references between inner and outer experience based on her occupation with American poet Frank O’Hara (1926–1966) whose poetry similarly verges upon the boundaries of daily observations and subjective sensations.
Furthermore, she has incorporated small vitrines into three sculptures which hold distinctive components of her previous œuvre: neon lights, blinds, apparatuses and instruments for the measurement of real-time, real-space, or local temperature. These additions or adjuncts carry their own origins out of the working process into the current sculptures. By means of this subtle display-dimension, they confront their present selves with their own past – self adverse self, once adverse now.
In their exposed chromaticity, their offensively playful appearance, their asymmetrical arrangement Boschan’s sculptures rigorously defy the rigid coordinate system of the floor’s dark grid, in the given spatial situation. And precisely amidst the drastic simplicity of these propositions and counter propositions, among these ›larger than life magnitudes‹, we as beholders are stipulated to actively attain our own places, to hold our grounds towards the opponent sculptures and the surrounding space.
Text: Christian Malycha