Although Daniela Brahm is indisputably a painter, her pictures often evolve into very three-dimensional architecture. For example, gallery exhibitions may be transformed into accessible urban areas when a number of paintings join together to create a course of flattened, fictive buildings. Following this, the viewer no longer knows whether painting is dallying with its own two-dimensional quality, as in Minimalism, or whether it has bowed down to the real exhibition space, merging together with three-dimensional objects to form a narrative, parallel world. In the former hospital chapel of the K\u00fcnstlerhaus, Brahm has installed a parasitic architecture; starting out from flat building components on the ground, it rises like a tower to a height of 8.5 m, one side resting on the edge of the gallery. The painter has then mounted a combination of her own works and a number of directly painted wooden planks onto this structure made of scaffolding parts and wooden slats. Formally, the architectonic intervention seems to have been derived from the urban-planning of \u201ccouncil housing estates\u201d, as they are called in England. The artist made a critical analysis of such estates and their utopian character during a year\u2019s stay in England.<\/p>\n","protected":false},"template":"","categories":[],"class_list":["post-12343","kb_exhibition","type-kb_exhibition","status-publish","hentry"],"acf":{"article_image":15589,"article_image_bu_de":"","article_image_bu_en":"","datum_suche":"2014-06-27 15:42:46"},"yoast_head":"\n