The space is dark; 8 big barrels are standing on the floor. Each barrel is filled with water reflecting a full moon on its surface. A video projection is screened on the ceiling which shows a spider web and a girl climbing it, trying to reach the moon in its middle. Reaching the moon, the girl disappears in it; at the same time the moons inside the barrels turn into eyes with sick-looking pupils. The eye in the barrels blinks and slowly disappears until the water becomes black and empty. Then, big, black she-spider crawls out of the moon screened on the ceiling, and prowls around the web until everything becomes black.
The girl climbs to Luna; she climbs to the moon-eye. Whose eye? It might be her own eye or one of the eight eyes of the carnivorous she-spider, the tarantula. It might be the artist’s climb to herself, a destructive self-reflection or a self approval in denying oneself? She climbs the spider web as the mythological Arachne, the skilled weaving woman whom Athene turned into a spider. In a moment she will make it, in a moment she will see, in a moment her eye will close and with it the eight eyes of the spider, the one to offer a sacrifice and the victim.

Project Room: Coco Kuhn

Berlin Wall

"Berlin Wall" is a room installation. It consists of two photographs and one sculpture. One photograph shows the intact Berlin wall, concrete and a small part of the blue sky. The opposite photograph depicts a damaged part of the Berlin wall, concrete, a small part of the blue sky and the rusty steel inside the wall.
The sculpture on the floor, made of cement, represents the original borderline between East Berlin and West Berlin. The viewer is in-between the two walls. He is neither on one side nor on the other side. There is no other place to be. It's only one step to change the point of view.

Coco Kuehn is a sculptor and photographer, living and working in Berlin. She makes sculpture using industrial material in connection to historical and religious architecture ('St. Gereon',2004) or contemporary museum architecture ('Hohe Dosierung',2002). Kuehn transforms temporary three-dimensional installations into two-dimensional compositions as photographs. The chosen architectural details are readable as metaphors for different times and societies. Her work is fundamentally connected to the context of minimal and conceptual art.