Karin Sander’s conceptual works range from barely-there interventions to vibrant,
encompassing installations. Her discursive practice focuses our attention on
seemingly inconsequential aspects of the exhibition site and to the hidden systems
that surround gallery visitors. In Core Drillings (2011), Sander replaced the
trashcans in the administrative offices above the gallery with holes, slowly filling
an otherwise empty exhibition space with workday detritus. Based in Berlin and
Zurich, Sander has presented solo projects at the Museum of Modern Art, New York,
and at Skulptur Projekte, Münster, Germany.
Image:
Karin Sander
Museum Visitors 1:8, Labor K20, 2010
K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf
3D body scans of living people in the color of their choice, monochrome 3D printing, and plaster
Scale: 1:8; Height: 4–9 inches each
Courtesy of K20 North Rhine-Westphalia Art Collection, Düsseldorf (permanent loan from private collection of Frankfurt am Main)
show less
encompassing installations. Her discursive practice focuses our attention on
seemingly inconsequential aspects of the exhibition site and to the hidden systems
that surround gallery visitors. In Core Drillings (2011), Sander replaced the
trashcans in the administrative offices above the gallery with holes, slowly filling
an otherwise empty exhibition space with workday detritus. Based in Berlin and
Zurich, Sander has presented solo projects at the Museum of Modern Art, New York,
and at Skulptur Projekte, Münster, Germany.
Image:
Karin Sander
Museum Visitors 1:8, Labor K20, 2010
K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf
3D body scans of living people in the color of their choice, monochrome 3D printing, and plaster
Scale: 1:8; Height: 4–9 inches each
Courtesy of K20 North Rhine-Westphalia Art Collection, Düsseldorf (permanent loan from private collection of Frankfurt am Main)
Karin Sander’s conceptual works range from barely-there interventions to vibrant,
encompassing installations. Her discursive practice focuses our attention on
seemingly inconsequential aspects of the exhibition site and to the hidden systems
that surround gallery visitors. In Core Drillings (2011), Sander replaced the
trashcans in the administrative offices above the gallery with holes, slowly filling
an otherwise empty exhibition space with workday detritus. Based in Berlin and
Zurich, Sander has presented solo projects at the Museum of Modern Art, New York,
and at Skulptur Projekte, Münster, Germany.
Image:
Karin Sander
Museum Visitors 1:8, Labor K20, 2010
K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf
3D body scans of living people in the color of their choice, monochrome 3D printing, and plaster
Scale: 1:8; Height: 4–9 inches each
Courtesy of K20 North Rhine-Westphalia Art Collection, Düsseldorf (permanent loan from private collection of Frankfurt am Main)
read more
encompassing installations. Her discursive practice focuses our attention on
seemingly inconsequential aspects of the exhibition site and to the hidden systems
that surround gallery visitors. In Core Drillings (2011), Sander replaced the
trashcans in the administrative offices above the gallery with holes, slowly filling
an otherwise empty exhibition space with workday detritus. Based in Berlin and
Zurich, Sander has presented solo projects at the Museum of Modern Art, New York,
and at Skulptur Projekte, Münster, Germany.
Image:
Karin Sander
Museum Visitors 1:8, Labor K20, 2010
K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf
3D body scans of living people in the color of their choice, monochrome 3D printing, and plaster
Scale: 1:8; Height: 4–9 inches each
Courtesy of K20 North Rhine-Westphalia Art Collection, Düsseldorf (permanent loan from private collection of Frankfurt am Main)
show less
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