KUY calls KAY: "oh darling, we flying to the moon we need to save weight" is, after London and the de ketelfactory in the Netherlands, the third part of her dialogue with material, space and language. Two characters – KUY and KAY created and developed by the artist with self-optimizing apps – are in conversation. Both, independent and yet bound with one to another, create a fictional space. For the exhibition the characters form a meta-level, that pours unconsciously into the minimal abstract sculptures. A non-verbal, physiological basis for the development of the form, that allows to step into Sarah Pichlkostner’s artistic world.
The reflecting front glass divides the outside from the inside. The inside from the outside? The limit between the private and the public collapses. In the very same space a seeming science-fictionesque mise-en-scène discloses itself.
Pichlkostner’s aluminium and silver glass sculptures abandon the floor and, hanging from the ceiling, float in the space. It is two-fold the duality inhabiting them, that holds upright the tension, dynamics and statics. Automatic instructions for optimization echo out of glass plates. Fragmented, they prove the current loss of language, form and meaning the formative. A post-human absurd theatre.
The artist enables us to fly to the moon with her. All the same, should we drop some weight? Fiction is not a mirror for clichés here. Sarah Pichlkostner has reached a level in her artistic work, where she blends objects and subjects. The superfluous is discarded, the default-language is led into another aggregate state and left – metastable – on the ground. Sarah Pichlkostner provides us with no utopia, she works in the present.
Sarah Pichlkostner (*1988, Schwarzau/Pongau, lives and works in Vienna).