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Two walls of the room are covered by a wall installation by Martin Boyce: a wallpaper in which several spatial planes overlap to form a repeating pattern. It refers to the opening credits of Alfred Hitchcock’s film ‘North by Northwest’ (1959), designed by Saul Bass: Vertical and diagonal lines intertwine to form a grid that eventually fades into a reflective skyscraper façade.
Silke Leverkühne’s column is also a reference, specifically to the decorative stone layering of the columns in Orvieto Cathedral. However, the stripes applied with egg tempera undermine this rigid system. The focus is not on tectonics but on light and shadow.
Susan Hefuna creates a space-filling structure from four large grids joined together, which are derived from the ‘mashrabiyas’, the window grilles of the Arab cultural sphere. It invites the viewer to approach it, yet remains inaccessible. Words in German, English and Arabic are woven into each individual grid. To the Western eye, the Arabic characters appear as part of the ornamental structure; whereas the English word ‘Dream’ immediately triggers numerous associations. This is fitting, given that the term ‘mashrabiya’ can be understood in different ways: as a ‘place of drinking’ (from the Arabic word ‘sharaba’) or as a ‘place of seeing’ (‘mashrafiya’).