21 February 2009 – 26 April 2009
In her objects, photographs, films, drawings and site-specific installations Berlin based artist Kathrin Sonntag (*1981) is dealing with everyday objects and diverse possibilities of how to perceive them. In other words: she broaches the issue of the view and its transformation. Her cautious way of handling the examined items characterises her work. It concedes them their original character but still focuses on new aspects, aroused by uncommon combinations or minimal changes.
Sonntag’s works focus the moment in which a usually intelligible object is stepping out of itself thus eludes common interpretation. “The moment in which abstraction invades daily routine”, as Sonntag describes it herself. The purpose of employed items is no longer the dominant idea. Similarities in shape and function are revealed, and sequences of associations form amongst items that usually wouldn’t have been related to each other. In her Bremen exhibition SUPERKALIFRAAGILISTIGEXPIALI-GETIK the noticeable view from the GAK’s windows to river Weser becomes the initial point for formulating perspectives, views and insights, literally as well as metaphorically. Shapes of frames, mirrors and an old telescope for instance rhythmisise the exhibition space and at the same time establish correlations in shape and colour with other exposed objects, collages, photographs and drawings. Slides project a sequence of words onto the wall whose sound and spelling at the same time convey their meaning: Ping Pong, Zick Zack etc.
Found images of bizarre inventions, supposed to facilitate everyday life (e.g. a fork-spoon-hybrid) become the starting point for further connecting lines crossing the exhibition like a multiple meshed network.
The title SUPERKALIFRAGILISTIGEXPIALIGETIK is borrowed from the Disney film adaption of Mary Poppins in which it’s introduced as an adjective. According to the renowned nanny it paraphrases a “terribly long and scientifically impressive sounding word.” A kind of magic word that quintessentially seems to be absurd but thanks to sounding awe-inspiring gives its user a well-educated appearance and can be used in case one doesn’t know what to say anymore. But it also contains the words “Frage” (question) and “listig” (astute) and herewith describes Kathrin Sonntag’s artistic approach tracing the magic and the particular in what seems to be banal. In contrary the banal doesn’t seem to be existent in her visual cosmos – even the most inconsiderable object as well as the rather ordinary everyday moment are conceded levels that detach them from their ordinary status. Being bound to the realities of every day life with simultaneous revelation of its magic potential and surprising relations is the element that connects the diverse media. This way everything is linked with everything and the viewers move about in Kathrin Sonntag’s interventions as in a big hidden picture puzzle whose mysteries can only be detected by someone who is willing to engage in a different perception of the familiar.