„(...) Commensurate to Galerie Herold’s space, the intervention comprises two connected rooms. The main entrance to the large gallery room is blocked by a wave-like wooden structure built on the floor – the height of which corresponds to the longest waiting time at the railway barriers – inevitably forcing visitors to use the side entrance to the smaller gallery room. There they find a wave similar in structure and form, the height of which corresponds to the shortest waiting time at the railway barrier, hindering one’s passage to the window, but not blocking it entirely, since its height is easy for adults to traverse. Both curves are evenly covered with linoleum, a material that is present throughout the entire administrative building of the erstwhile dispatch centre. Its deployment in the exhibition space is adapted to the environment’s existing interior design, resulting in an impression of spatio-functional continuity, which is even reflected in specific design details such as the colour and pattern of the floor covering. With her meticulous integration of the formal elements in the exhibition space, the artist creates a moment of estrangement, generated by the immanent contradiction in form between an assumed unit and its constitutive fictionality. This fracture simultaneously shows itself as sense and experience. As sense, it both points to a problematised situation and is the prerequisite for and the process of aesthetic possibility. Therein a self-reflexive moment emerges, as regards not only the specific characteristics of the place and its relation to the work, but also the self-concealment of the medium for the benefit of the experience. Because only through the experience on site is the work as such generated. The recipient is confronted with limited access to a space, the apparent unity of which is broken up in the experience of its impossibility. The experience of the fracture, which is both physical and mental in nature, constitutes the unity of the work itself, that is, its ideality as a work of art. In the process, the work as a metaphor for a location-specific condition – the entrance situation at the Güterbahnhof, which, in turn, refers to the general transitional situation of the place – is reflected upon aesthetically and made perceptible as a spatial intervention.(...)“
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