Ausstellungseroffnung am Freitag, 12. September 2014, 19.30 Uhr

Rede zur Einfuhrung von DR. EVA BADURA-TRISKA, Kuratorin am Museum moderner Kunst Stiftung Ludwig Wien

Die Ausstellung wird gezeigt von Samstag, 13. September 2014 bis Samstag, 28. Februar 2015,
taglich von 13.00 bis 18.00 Uhr, außer Dienstag.


Having the stripe, the line in her mind´s eye ANNEKE KLEIN KRANENBARG makes them real by tightening a thread between two corners and marking these corners by piercing the underground. Thus the line has achieved her quality; her material patency is no more contested. The figures of ANNEKE KLEIN KRANENBARG refer to a throughout transparent material: she seems to use the air to provide hold to her lines and corners. Colouring proves to be unnecessary, neither are hachures nor the denseness of a body, which is rather non-existent. ANNEKE KLEIN KRANENBARG is not a graphic designer, not a paintress, she is neither creating sculptures nor an architecture, at least not an established one. That´s why ANNEKE KLEIN KRANENBARG is an artist entering new territory. She chose consciously to live in Zaandam next to Amsterdam, an old inner land wrested from the Dutch sea, in an old house whose windows block the view to the harbour due to the closed shutters.

It´s this tendency towards avoiding an even private determined recognition which constitutes her affection for abstraction. Her affinity to mathematics and geometry makes her work distinctive although it cant be said that ANNEKE KLEIN KRANENBARG distributes any personal or individual and distinctive expression at all to her constructions. It´s perception itself playing open-ended games with the viewer who is observing: They are similar thread-tightening´s which after a small side step reveal themselves into 50 or more variations of collapsing in dark angles and suddenly appearing open surfaces. ANNEKE KLEIN KRANENBARG is permanently playing with her visitors or more precisely she is disorienting them - 50 times and more often.

Its dealing with results of individual perceptions, starting with the singular apparatuses of wood which ask for attention in the Museum of Perception or with sculptures appearing without gravity, with models appearing like flying furniture up to simple variations of threads between two foils of acrylic glass.