Kunststation St. Peter, Köln (2009)
AD LUCEMfiller
Transubstantiations.fillerContemplations on Angela Glajcar’s Works at the Kunst-Station Sankt Peter ...filler“A singular instance of art is paper, a thing exceedingly common. […] Paper [is] a substance that may be cut or torn; so that it imitates and almost rivals the skin or membrane of an animal, the leaf of a vegetable, and the like pieces of nature's workmanship. For it is neither brittle like glass, nor woven as cloth; but is in fibers, not distinct threads, just like natural materials; so that among artificial materials you will hardly find anything similar; but it is altogether singular”, this is how the British philosopher Francis Bacon acclaimed the material paper in his True Directions Concerning The Interpretation Of Nature in 1620 ...
Andreas F. Beitinfiller
ZKM-Museum für Neue Kunst, Karlsruhe
Photos:fillerStephan Brendgen, Monheim


Terforation (space) · 2009
paper · structural steelwork
400 x 125 x 1050 cm
Kunststation St. Peter, Köln

... The sculptor Angela Glajcar, who formerly used to work with materials like steel and wood, now predominantly employs paper as material for her installations and objects. The material is of eminent meaning to her, for it possesses the property of receiving the light of the environment and to show off its various shades of colour in the paper. This is why Angela Glajcar uses mainly white paper: “I don’t need coloured material.” Also, she is particularly fascinated with the spatial presence that may be assumed by a material appearing as light as paper when it dominates a room in long widths or massive piles. Therefore, the work on site is an important factor in the creation of her works.

Angela Glajcar may prepare her oftentimes space-consuming sculptures and installations in model form in the studio and go a priori through the various possibilities of assembly, but still the actual phase of installation on site remains the most important part. Beyond that, the artist is impressed with the processes of change characteristic of the paper that become apparent, for instance, when it absorbs the humidity of the room, changes its haptic, and thus, the transience of the paper becomes apparent ...

  ... It is this transience constituted by the substance of the material, the option of finitude, that makes Angela Glajcar turn to the material paper again and again, for she takes no stock in the demand for everlastingness in arts. In the end, the fascination of paper also lies in the fact that it is attributed by most people with characteristics that only partially apply to paper. It is not only light and fragile, but it can also be very heavy and solid. The artist thus often works on heavy qualities that may weigh up to 750g/m², that is, almost ten times the weight of customary printing paper.

For the Kunst-Station Sankt Peter, Angela Glajcar has realised an installation in a church for the first time. AD LUCEM – to the light. On the long axis of the nave of the almost 500-year-old house of worship, 150 paper sheets of 250 cm in height and about 130 cm in width each hang from a ten metre long wavelike construction of two parallel-running metal rods. Into the sheets, hanging at intervals of 7 cm, the artist has torn on site openings of various sizes, thus permitting a view into and through the work. In the lowest-hanging section, the holes are torn in a fashion that allows the visitor (of the church service) to enter the hanging sculpture and look into the tunnel of paper and light ...

... The curvature, however, makes it impossible to look out of the installation from this position; what remains is merely an inkling, an imagination. It is fascinating to what extent the purely white paper – without any additional lighting – indeed receives the colour of its environment, for it shines in the bright yellow of the natural stone blocks of the late Gothic building ...

While the artist has responded to the Gothic arcs in the Cologne church with a swinging but at the same time strict cubic installation, she realised for the exhibition in the KunstRaum Hüll, that rather corresponds to a modernistic white cube, with Arsis (engl.: rising) a large-scale installation that is to be termed picturesque. Numerous paper sheets of a length of 8 metres and a width of 62 cm have been hung into the room parable-like. Overlapping one another fanlike, they appear like large brushstrokes of white colour levitating freely in the room ...

... Angela Glajcar has torn some of the sheets at the edges, thus stressing the fragility of the material. Through the large windows of the exhibition site, the paper receives the light of the environment, here not marked by the architecture but only by weather conditions, and thus offers an infinite range of colour tonalities.

Time and Space. Marcel Duchamp, one of the most important artists of the 20th century, created an incunabulum of the modern with his picture Nu descendant un escalier of 1911. A female figure descending a staircase, like dissolved into multiple single figures. Three centuries before, the Englishman Edward Muybridge and the Frenchman Étienne-Jules Marey had succeeded as well in documenting movements permanently by means of chronophotography. Thus a desideratum of painting could be fulfilled: the representation of dynamics and time through movement in space ...