Article excerpt

The architecture of Gerhardsen Gerner is unusual: It is situated in a barrel vault under a commuter-rail bridge. The front window affords a view of the Spree, which flows past at nearly floor level, and visually opens rhe room and immerses it in shimmering daylight. The sacral austerity or the lines of its arches; the coarse, whitewashed walls; and the flickering river light were well matched hy Andrea Winkler's exhibition "Patricia" Her delicate, space-structuring works are complex three-dimensional collages, using sculptural elements such as metal chains as well as multicolored decorative and drawing papers, shiny foils, and spray paint. On the whole, Winkler deploys spatial elements graphically and graphic elements spatially, blending both into images that one can walk through and experience in space--always with a fine sense for the resonance of weight, colors, sight lines, and zones of emptiness.

The exhibition started at the entrance, outside the main space, with simple, almost casual gestures. On the right was a work consisting of two sheets of paper mounted on the wall unframed, appearing somewhat lost. On the left, a gold-colored chain running close along the outside of the smooth partition wall, around the corner; and into the exhibition space formed a lightly hanging arc. This was the cue for a kind of dramaturgy: Winkler's vocabulary of sculpture and image was established in mice right at the beginning, unfolding by hint and suggestion. The artist always works through such pointed room-structuring accents and develops them sculpturally in terse, precise gestures. One of the sheets in the paper work at the entrance, for example, consists of a glossy, blackish crumpled page from a printed magazine. The half-artistic, half-destrucrive crinkling of the paper lends the piece a certain objecthood and makes the photos on it nearly unrecognizable, while the text passages, printed in white or yellow on a black background, become pictorial fragments of fractured context. …


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