marianne maderna, steel sculpture in an avenue in horn
marianne maderna, steel sculpture in an avenue in horn
marianne maderna, steel sculpture in an avenue in horn
 

marianne maderna


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steel sculpture in an avenue in horn



Where the sculpture tends towards crossover, it departs from its genuine statics and enters into that field of relationship in which comparisons are made with the visible reality. One could therefore speak of ponderation, as far as this sculpture by Marianne Maderna is concerned, at least from a certain point of view, where it steps out in a very elegant way. Although it is no longer certain which leg the weight is on, and from which leg the weight is being taken off. Or, to put it another way: just as in the serpentine sculpture of Mannerism, whose grand idea consisted in the fact that movement can no longer – or no longer only – be presented as suggestion. Instead, it actually occurs in the movement of the viewer, who feels directed to walk round the sculpture. This means that the movement is transposed from the sculpture to the viewer and crosses over to him. I see this in a similar way for this sculpture, and we are speaking of that moment when one becomes aware of it, so that it takes a step towards us. This is a moment that doesn’t exist, between two moments; and into that it places its foot, very lightly and inexorably.
(Otmar Rychlik)