The exhibition of works by Cäcilia Brown and Stephanie Kloss at Laura Mars Gallery shows excerpts, traces, fragments, façades, spaces, stages, and stories from the feminine city.
“Die Kupferdiebin” (The Copper Thief), “Die Zahnfee” (The Tooth Fairy), and “Das schlechte Gewissen” (The Bad Conscience) from the series “Leichte Mädchen” (Loose Girls) have a talk with Lady Volkswagen & Mad-am Riehmenstahl about hanging.
Cäcilia Brown thematizes how the visual structures of the cityscape translate the social order by subtly di-recting human coexistence. Trash bins, pedestrian rail guards, bollards, revolving doors, and other visual “order maintenance devices” of public space are cited – destructive acts such as burning or throwing from a window are part of her methods, as well as the copy and the collection. In the course, the social order of the cityscape is investigated based on sculptural regularities such as verticality and horizontality, bearing and weighing, and subjected to deliberate disorganization. For instance, the artist seizes on the structure of con-crete weights suspended from overhead lines visible along railroad tracks, and does so in wax shapes whose fragility is in stark contrast to the materiality of the original forms. Akin to some alternative ordering struc-ture, the urban infrastructure is transposed to the exhibition space, and “used” by the wax shapes. As Leich-te Mädchen, the sculptures are personalized and referenced to an occupation group that uses public space in order to offer an utterly intimate property as a commodity.
Stephanie Kloss shows the photo series “Avalon”, created at an eponymous BDSM studio in the Berlin district of Spandau. This studio is managed by two women. The rooms she comes upon there are stages and settings serving various fantasies. They are equipped to satisfy certain needs, only there, for mon-ey. Stephanie Kloss sets out on a search for traces in this location which exists quasi outside of any location, rather in mind and body, even though it can be localized. Regarding it in its profanity without watching the actions therein was the challenge her work confronts. Without illustrating some documentation or sociolog-ical study on sex work, Stephanie Kloss’s works render a psychogram of societal power relations.
On occasion of the exhibition, the catalogue “Avalon” by Stephanie Kloss has been published by Fantôme Verlag