Renate Kordon applied white chalk paint to the glazed surfaces of the wedge-shaped space and scratched drawings as well as the names of important female artists. Only through the names and drawings was it possible to peer into the exhibition space where on a video screen the film Paintress / Malerin could be watched in an endless loop.


Susanne Neuburger: In den Fußstapfen der Hand, in: Renate Kordon, Lebenslinien / Lifelines 2013...

Repeatedly Kordon assigns the hand—meaning her own hand—important roles in her works. Kordon is left-handed, therefore her right hand is her left hand, which is also the working hand. In Paintress this is the director’s hand behind the camera, the hand that releases the shutter, ad justs the focus, arranges the settings with all the necessary objects, and forms the clay figure. The depicted (right) hand, says Kordon, “has to keep still in the animation film work and may not change its position during all the many single frames that are necessary, to be perceived as still- ness or fluent movement in the film.” This right hand finds itself in the situation of a pose, so to speak, while the left hand is the apparatus. >>>