SABINE SCHRÜNDER | intrude (into)

Opening: Friday, 11 January 2008, 7 p.m.

Exhibition: 12 January - 16 February 2008

We at the Loris Gallery are delighted to present intrude (into), the first solo exhibition by Sabine Schründer. Following the viewing of her multipart photographic installation in the Deichtorhallen in Hamburg within the framework of her nomination for the Körber-Foto-Awards, and her subsequent participation in the group exhibition Die Annahme von Werten(Value Acceptance) in the Kunsthaus Bocholt, Sabine Schründer’s work will now be on view in Berlin for the first time as a solo exhibition. 

In her eleven-part photographic installation, Sabine Schründer explores the terrain between danger, control and security, and the individual. Terms such as security, intrusion and fear, and their perception, are mutually conditional. They intertwine and on a direct level, interact. 

So many dangers are intangible. Perceived as a genuine threat, their reality, however, is conjured up subliminally. “Phantom fears” begin to surface. These are partly real but more often than not are fostered by diffuse, constructed scenarios, not least as a result of institutional manipulation. A constant, albeit subjective, sense of threat emerges and seems to materialize from within and without. 

Security becomes an insurmountable illusion but is simultaneously the most precious good in negotiating fear. 

In approaching this grey area photographically, Sabine Schründer creates an associative network of images in a non-linear hanging of various formats. The ambivalence of the images suggest a sense of intrusion that cannot be located in reality. Schründer displays instruments of control and blends them with images of nature. Through digital manipulation and dissociation from their original context, the different scenarios hover in a space between aesthetic temptation and subliminal discomfort. In Sabine Schründer’s work, conscious visual irritation is transformed into thematic fragments of content. 

The paradox of insecurity in the seemingly familiar is inherent in these shifts in perspective. Eliminated points of reference, distorted situations and traces of action, the intention and impact of which remain obscure, leave the observer in a state of suspense.