Date: October 19 β December 2, Photography: all images copyright and courtesy of the artist and Marta Herford Museum. Olfactory impressions play a distinct role, as do sculptural questions of the pedestal, and the presentation and staging of works of art. In addition to prize money available for, among other things, the production of a new work for the Marta Collection, an exhibition has been associated with this award since and will continue to be so in the future.
The solo exhibition will be accompanied by a publication to be launched at Marta Herford in the presence of the artist on Sunday, November 12, The fragrance functions as a sculpture which spreads out into the room, evoking in turn the invisible spaces of the imagination.
The idea for this scent originated in memories of the smells that can be found among the buildings, streets, and fields of Westphalia. The artist has grappled in particular with the social significance of the kitchen and its furnishings. Her research initially focused on the Hansaviertel in Berlin: A West German architectural project of the s and a utopia of democratic ideas for housing.
Internationally renowned architects found fulfillment in their buildings, but Henke was above all interested in the roles that women played in developing the neighborhood and its apartment buildings. The sculptural result of this research is an edition of four versions of iconic kitchen appliances, all designed by Braun, with which the apartments of the Hansa Quarter were equipped.
Digitally altered, enlarged one and a half times, cast and covered in rubber granules carrying monochrome colors typical of the s. The black formation of car tires and wooden elements that dominates the main space consists of around 2, car tires pressed into cubes, each segment of which measures by by 80 centimeters and weighs kilograms. The domestic environment meets the ultimate promise of freedom of the street: the kitchen and the car are combined in the design but also in the impressive installation.
