https://preflight.kathrinschlegel.com/header 2026-01-16T16:08:05+00:00 always 0.5 https://preflight.kathrinschlegel.com 2026-01-17T10:51:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/M2570629822232050024071760904487/horizontal.svg https://preflight.kathrinschlegel.com/footer 2026-01-05T11:49:59+00:00 always 0.5 https://preflight.kathrinschlegel.com/projects 2026-01-05T13:38:16+00:00 always 0.5 https://preflight.kathrinschlegel.com/säle-in-frischem-und-leichtem-schmuck 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/G2729312874642462834247662185496/prt_700x483_1480173669.jpg 2005, site-specific installation, industrial walk-in freezer storage room (custom-made 230 cm x 300 cm x 340 cm), light source, garden fountain (model Versailles), stone bench. AZKM Ausstellungshalle für zeitgenössiche Kunst, Münster, Germany. Inspired by the 1200th jubilee of the Diocese of Münster in the summer of 2005, Kathrin Schlegel based the theme of her project on religious painting. Making use of the architectural setting of the exhibition hall, an elevator transported the visitors up to the exhibition area, where an installation of an industrial freezer obstructed the space, its droning hum reminding of the loft’s former service as a warehouse. The installation reveals a profane hortus conclusus, a freezing cold installation of an enclosed garden scene, its fountain covered in icicles as if it had been frozen in motion, a fan slicing the dim light adding a shivering look to the scene. Visitors were allowed to enter one by one, where a stone bench seemed to encourage a moment of repose and contemplation. But it was too cold to stay for long. https://freight.cargo.site/t/original/i/U2731080267928169997286950186008/Sale_insert.jpg __________ Säle in frischem und leichtem Schmuck https://freight.cargo.site/t/original/i/T2731080267909723253213240634392/kathrin_sale_detail.jpg 2005, site-specific installation, industrial walk-in freezer storage room (custom-made 230 cm x 300 cm x 340 cm), light source, garden fountain (model Versailles), stone bench. AZKM Ausstellungshalle für zeitgenössiche Kunst, Münster, Germany. Inspired by the 1200th jubilee of the Diocese of Münster in the summer of 2005, Kathrin Schlegel based the theme of her project on religious painting. Making use of the architectural setting of the exhibition hall, an elevator transported the visitors up to the exhibition area, where an installation of an industrial freezer obstructed the space, its droning hum reminding of the loft’s former service as a warehouse. The installation reveals a profane hortus conclusus, a freezing cold installation of an enclosed garden scene, its fountain covered in icicles as if it had been frozen in motion, a fan slicing the dim light adding a shivering look to the scene. Visitors were allowed to enter one by one, where a stone bench seemed to encourage a moment of repose and contemplation. But it was too cold to stay for long. https://preflight.kathrinschlegel.com/ex-post-et-ex-ante 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/D2729312874734696554616209943576/prt_897x643_1468432353.jpg 2004, a ceremonial blessing of the Post CS Building as a centre for contemporary art. Ceremony with Cessna, pastor Cor van Onzenoort, stage, sparkling wine, high-frequency transmitter, Belgian sugar-coated almonds. Intervention, commissioned by W139, Post CS, Amsterdam, the Netherlands. Curator: Ann Demeester. May 16, 2004, 3:45 p.m. In collaboration with Reverend Cor van Onzenoord Kathrin Schlegel conceived a ceremony for the inauguration of the Post CS, the former TPG Post building, in Amsterdam as a centre of contemporary art, staged as a ‘live broadcast from Heaven’. Following the welcome speech by artistic director Ann Demeester, pastor Cor van Onzenoort blessed the building and the audience from a Cessna sports airplane. The consecration was broadcasted live to the public via a sound system and speakers on an empty stage. Sparkling wine and traditional baptism sweets were then handed out, together with souvenir cards of the building with a vapour halo floating on top. In memory of Reverend Cor van Onzenoort, † 2010, Breda. https://freight.cargo.site/t/original/i/H2731077760738949219053242297368/Insert2-Ex-Post-et-Ex-Ante.jpg https://freight.cargo.site/t/original/i/V2731077760757395963126951848984/Klein-wonder-van-onder-de-wolken.jpg <div style="text-align: left;"> <a href="http://www.volkskrant.nl/vk/nl/2676/Cultuur/article/detail/707736/2004/05/17/Klein-wonder-van-onder-de-wolken.dhtml" target="_blank">Volkskrant, Anne van Driel, 17 mei 2004 "Klein wonder van onder de wolken"</a> __________ Ex Post et Ex Ante</div> https://freight.cargo.site/t/original/i/M2731077760720502474979532745752/Insert1-Ex-Post-et-Ex-Ante.jpg __________ Videostills of the ceremonial blessing https://freight.cargo.site/t/original/i/B2731077760702055730905823194136/Deze.jpg 2004, a ceremonial blessing of the Post CS Building as a centre for contemporary art. Ceremony with Cessna, pastor Cor van Onzenoort, stage, sparkling wine, high-frequency transmitter, Belgian sugar-coated almonds. Intervention, commissioned by W139, Post CS, Amsterdam, the Netherlands. Curator: Ann Demeester. May 16, 2004, 3:45 p.m. In collaboration with Reverend Cor van Onzenoord Kathrin Schlegel conceived a ceremony for the inauguration of the Post CS, the former TPG Post building, in Amsterdam as a centre of contemporary art, staged as a ‘live broadcast from Heaven’. Following the welcome speech by artistic director Ann Demeester, pastor Cor van Onzenoort blessed the building and the audience from a Cessna sports airplane. The consecration was broadcasted live to the public via a sound system and speakers on an empty stage. Sparkling wine and traditional baptism sweets were then handed out, together with souvenir cards of the building with a vapour halo floating on top. In memory of Reverend Cor van Onzenoort, † 2010, Breda. https://preflight.kathrinschlegel.com/krijtautomaat 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/A2729312874716249810542500391960/prt_811x663_1555681806.jpg 2005, development and positioning of a crayon vending machine, installation in public space, Nah und Gut, Artwalk Amsterdam, the Netherlands. In the context of the exhibition Nah und Gut, Schlegel installed a vending machine on a corner of the Van Boetzelaarplein in Amsterdam. A cigarette dispenser was converted into a machine that dispensed beautiful high-quality colour crayons for a couple of cents. During the four weeks of its exhibition, children used these crayons and transformed the square into a mosaic of colourful drawings. https://freight.cargo.site/t/original/i/P2731072940973657640221596068888/Krijtautomaat_insert1_2.jpg __________ Krijtautomaat https://freight.cargo.site/t/original/i/O2731072940955210896147886517272/kathrin_krijtautomaat_key.jpg 2005, development and positioning of a crayon vending machine, installation in public space, Nah und Gut, Artwalk Amsterdam, the Netherlands. In the context of the exhibition Nah und Gut, Schlegel installed a vending machine on a corner of the Van Boetzelaarplein in Amsterdam. A cigarette dispenser was converted into a machine that dispensed beautiful high-quality colour crayons for a couple of cents. During the four weeks of its exhibition, children used these crayons and transformed the square into a mosaic of colourful drawings. https://preflight.kathrinschlegel.com/royal 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/W2729312875158971668311529630744/prt_1800x858_1479638859.jpg 2006, reanimating and translocating a historical neon text found on-site (230 cm x 145 cm x 45 cm), wiring, transformer. Intervention in public space; installation Kasseler Kunstverein im Fridericianum, Kassel, Germany. The cinema Royal used to be one of the buildings neighbouring the Kunsthalle Friedericianum in Kassel, the word ‘Royal’ enhancing the 1950 building in bright neon lettering. Only the empty shell of the cinema was left and the light of the sign had long been dimmed. Kathrin Schlegel reanimated the neon sign for the last ten days of the building’s existence. During the exhibition the building got demolished. Schlegel saved the neon lights and moved them next-door to be exhibited in the Kunsthalle Fridericianum. https://freight.cargo.site/t/original/i/P2731070369534427253257519901720/Royal_layered_3.jpg https://freight.cargo.site/t/original/i/P2731070369515980509183810350104/kathrin_royal_key_o.jpg 2006, reanimating and translocating a historical neon text found on-site (230 cm x 145 cm x 45 cm), wiring, transformer. Intervention in public space; installation Kasseler Kunstverein im Fridericianum, Kassel, Germany. The cinema Royal used to be one of the buildings neighbouring the Kunsthalle Friedericianum in Kassel, the word ‘Royal’ enhancing the 1950 building in bright neon lettering. Only the empty shell of the cinema was left and the light of the sign had long been dimmed. Kathrin Schlegel reanimated the neon sign for the last ten days of the building’s existence. During the exhibition the building got demolished. Schlegel saved the neon lights and moved them next-door to be exhibited in the Kunsthalle Fridericianum. https://freight.cargo.site/t/original/i/S2731070369497533765110100798488/kathrin_royal_doc_install.jpg All images copyright © Kathrin Schlegel __________ Royal https://preflight.kathrinschlegel.com/i-tego-arcana-dei 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/M2729312874956057483500724562968/prt_1280x731_1476892407.jpg 2011, installation, Vanitas still life in a cabinet, arranged as a tableau vivant: two human skulls in a glass display case, poppy flowers. A plastic container with crickets on top of the display case, creating a chirping soundscape. ACC Galerie, Weimar, Germany. In the musealized city Weimar, Kathrin Schlegel created a fictional gathering of two skulls, based on the greatest demystification of Weimar. In 1822, twenty years after Friedrich Schiller’s death, the mayor of Weimar, an admirer of Schiller’s writings, authorized the retrieval of the poet's remains from a mass grave, unearthing a number of skulls and skeletons. The alleged mortal remains of Friedrich Schiller were placed in Weimar's ducal vault to be joined in 1832 by Goethe's remains. As result the mausoleum has been a popular site of veneration for the poets since the mid-19th century and also the authenticity of Schiller’s remains has been the source of much controversy ever since. In 2008, scientists discovered that the remains inside Friedrich Schiller’s casket belonged to several individuals and none of the unearthed and exhibited skulls was Schiller’s. Inspired by this long kept myth, Kathrin Schlegel arranged a fictional gathering: two skulls placed in a shimmering cabinet reminding of a Baroque Vanitas painting. The installation stages a final imaginary dialogue between two human skulls that were amongst the ones considered to be of the genius. Will these two unidentified skulls, bereft of their identity, still gain access to Arcadia, as described in Schiller’s poem Resignation? The skull that was honoured excessively/extensively for nearly two centuries as Olympian immortal, turned into an object of historic value itself. We will never know, but the discussion continues. ‘I Tego Arcana Dei’ (‘Begone I keep God’s secrets’), the anagram of Et in Arcadia Ego (‘Even in Arcadia, there am I’, ironically mystifies the scene. https://freight.cargo.site/t/original/i/K2731068099238293869601873865752/itego-mainimage1.jpg 2011, installation, Vanitas still life in a cabinet, arranged as a tableau vivant: two human skulls in a glass display case, poppy flowers. A plastic container with crickets on top of the display case, creating a chirping soundscape. ACC Galerie, Weimar, Germany. In the musealized city Weimar, Kathrin Schlegel created a fictional gathering of two skulls, based on the greatest demystification of Weimar. In 1822, twenty years after Friedrich Schiller’s death, the mayor of Weimar, an admirer of Schiller’s writings, authorized the retrieval of the poet's remains from a mass grave, unearthing a number of skulls and skeletons. The alleged mortal remains of Friedrich Schiller were placed in Weimar's ducal vault to be joined in 1832 by Goethe's remains. As result the mausoleum has been a popular site of veneration for the poets since the mid-19th century and also the authenticity of Schiller’s remains has been the source of much controversy ever since. In 2008, scientists discovered that the remains inside Friedrich Schiller’s casket belonged to several individuals and none of the unearthed and exhibited skulls was Schiller’s. Inspired by this long kept myth, Kathrin Schlegel arranged a fictional gathering: two skulls placed in a shimmering cabinet reminding of a Baroque Vanitas painting. The installation stages a final imaginary dialogue between two human skulls that were amongst the ones considered to be of the genius. Will these two unidentified skulls, bereft of their identity, still gain access to Arcadia, as described in Schiller’s poem Resignation? The skull that was honoured excessively/extensively for nearly two centuries as Olympian immortal, turned into an object of historic value itself. We will never know, but the discussion continues. ‘I Tego Arcana Dei’ (‘Begone I keep God’s secrets’), the anagram of Et in Arcadia Ego (‘Even in Arcadia, there am I’, ironically mystifies the scene. https://freight.cargo.site/t/original/i/L2731068099219847125528164314136/itego_insert1b.jpg <div style="text-align: left;">__________ I Tego Arcana Dei</div> https://preflight.kathrinschlegel.com/chasing-the-ephemeral,-rc-iii 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/B2729312874937610739427015011352/prt_1280x720_1481915163.jpg Chasing the Ephemeral, RC III 2010, prototype bubble-dispersing pedestal, mixed media, development of a prototype (artistic engineering), bubble machine, electric fans, engines and mechanical devices hidden in a pedestal of 40 cm x 40 cm x 175 cm. Collaboration with Hagen Betzwieser. KiK, Kolderveen, the Netherlands. Chasing the Ephemeral, RC III is a proposal for a permanent artwork in a public or semi-public space. By presenting the fleeting phenomenon of a soap bubble on a white pedestal, a classic presentation format, the bubble becomes a sculptural artefact. Soap bubbles of impressive diameters, shimmering with colour, cling briefly to the pedestal, and are then released, one at a time. Ideally, the work should be installed in a place where the finite nature of human life is evident. https://freight.cargo.site/t/original/i/B2731064974525868479867216079896/P1250843a-blasen-weg.jpg Chasing the Ephemeral, RC III 2010, prototype bubble-dispersing pedestal, mixed media, development of a prototype (artistic engineering), bubble machine, electric fans, engines and mechanical devices hidden in a pedestal of 40 cm x 40 cm x 175 cm. Collaboration with Hagen Betzwieser. KiK, Kolderveen, the Netherlands. Chasing the Ephemeral, RC III is a proposal for a permanent artwork in a public or semi-public space. By presenting the fleeting phenomenon of a soap bubble on a white pedestal, a classic presentation format, the bubble becomes a sculptural artefact. Soap bubbles of impressive diameters, shimmering with colour, cling briefly to the pedestal, and are then released, one at a time. Ideally, the work should be installed in a place where the finite nature of human life is evident. https://freight.cargo.site/t/original/i/B2731064974507421735793506528280/kathrin_chasing-the-ephem-III_doc_vlcsnap_2.jpg __________ Chasing the Ephemeral, RC III https://freight.cargo.site/t/original/i/B2731064974470528247646087425048/ChasingThe_2.jpg https://freight.cargo.site/t/original/i/G2731064974488974991719796976664/kathrin_chasing-the-ephem-III_doc_vlcsnap_1.jpg https://preflight.kathrinschlegel.com/chasing-the-ephemeral,-rc-ii 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2729312874494888881657985772568/prt_444x493_1480453952.jpg Chasing the Ephemeral, RC II 2010, video installation, life-sized projection with sound, HD video, 1280 x 720 px, 16:9, PAL, stereo, 15’00’’ loop. Collaboration with Hagen Betzwieser. Kathrin Schlegel was one of the four artists invited to reflect upon the oeuvre of the Surinamese author, poet and performer Edgar Cairo, in the context of the commemorative exhibition Het lied der vervreemding (The song of alienation). Schlegel and Betzwieser created a video depicting a black man standing in a colourless décor wearing a medieval suit of armour. Instead of handling a sword he is making giant soap bubbles filled with white fog that float off into space. The nonsensical ambiguities of solid and ephemeral materials, historical and temporary entities, toughness and fragility, playfulness and aggression, communal song and alienation, leave room for not only visual enjoyment and wonder, but also for thoughtful contemplation. https://freight.cargo.site/t/original/i/O2731062878164084967218932231192/Ephem-II_inset.jpg __________ Chasing the Ephemeral, RC II https://freight.cargo.site/t/original/i/P2731062878182531711292641782808/vlcsnap-16103317_web.jpg Chasing the Ephemeral, RC II 2010, video installation, life-sized projection with sound, HD video, 1280 x 720 px, 16:9, PAL, stereo, 15’00’’ loop. Collaboration with Hagen Betzwieser. Kathrin Schlegel was one of the four artists invited to reflect upon the oeuvre of the Surinamese author, poet and performer Edgar Cairo, in the context of the commemorative exhibition Het lied der vervreemding (The song of alienation). Schlegel and Betzwieser created a video depicting a black man standing in a colourless décor wearing a medieval suit of armour. Instead of handling a sword he is making giant soap bubbles filled with white fog that float off into space. The nonsensical ambiguities of solid and ephemeral materials, historical and temporary entities, toughness and fragility, playfulness and aggression, communal song and alienation, leave room for not only visual enjoyment and wonder, but also for thoughtful contemplation. https://preflight.kathrinschlegel.com/chasing-the-ephemeral,-rc-i 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/P2729312874513335625731695324184/prt_600x422_1480453537.jpg Chasing the Ephemeral, RC I 2010, installation, mixed media, experimental laboratory for soap bubble research, soap bubble machines, video of 20 experiments with soap bubbles (HD video, 21’28’’), 3 photo collages (70 cm x 100 cm), high-speed photography of bursting soap bubbles. RC stands for remotely controlled. Collaboration with Hagen Betzwieser. KiK, Kolderveen, the Netherlands. Together with Hagen Betzwieser, Schlegel generated a context-sensitive research project at KiK in Drenthe. Chasing the Ephemeral, RC I is a semi-scientific investigation of possible ways of extending the life span of a fleeting phenomenon: the soap bubble. Soap bubbles, iconographic elements in the visual arts at least since the Baroque, here function as a Vanitas symbol reflecting the magnificence as well as the impermanence of human existence. To reveal the layers of this ephemeral phenomenon, the artists carried out twenty experiments, including attempts to discover the best formula for soapsuds, production of giant soap bubbles in the landscape, colouring soap bubbles and filling bubbles with fog. All experiments were documented on videotape and in photographs. https://freight.cargo.site/t/original/i/A2731074525475186595577241676824/Ephem-I_inset.jpg __________ Chasing the Ephemeral, RC I https://freight.cargo.site/t/original/i/G2731074525493633339650951228440/kathrin_chasing-the-ephem-I_doc_equipm.jpg Chasing the Ephemeral, RC I 2010, installation, mixed media, experimental laboratory for soap bubble research, soap bubble machines, video of 20 experiments with soap bubbles (HD video, 21’28’’), 3 photo collages (70 cm x 100 cm), high-speed photography of bursting soap bubbles. RC stands for remotely controlled. Collaboration with Hagen Betzwieser. KiK, Kolderveen, the Netherlands. Together with Hagen Betzwieser, Schlegel generated a context-sensitive research project at KiK in Drenthe. Chasing the Ephemeral, RC I is a semi-scientific investigation of possible ways of extending the life span of a fleeting phenomenon: the soap bubble. Soap bubbles, iconographic elements in the visual arts at least since the Baroque, here function as a Vanitas symbol reflecting the magnificence as well as the impermanence of human existence. To reveal the layers of this ephemeral phenomenon, the artists carried out twenty experiments, including attempts to discover the best formula for soapsuds, production of giant soap bubbles in the landscape, colouring soap bubbles and filling bubbles with fog. All experiments were documented on videotape and in photographs. https://preflight.kathrinschlegel.com/jasmine-crown 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/Z2729312874679356322395081288728/prt_758x700_1479754541.jpg 2011, installation, victory wreath of fresh jasmine flowers, pedestal, chrome holder with clip, spotlight. ACC Galerie, Weimar, Germany. The installation Jasmine Crown is based on the Jasmine Revolution in Tunisia. Seen from a distance, the flower piece might be mistaken for a bridal arrangement. On closer inspection, the shadow on the floor cast by a spotlight slanted from above reveals the shape of a victory wreath, its origin tracing back to the corona civica. The sweet scent of jasmines filled the space for the entire period of the exhibition. The fragile blossoms had to be replaced on a daily basis, and directed the attention to the theme of continuous destruction and renewal. https://freight.cargo.site/t/original/i/N2731059905194576327819046038552/kathrin_jasm-crown_key_1Perceptual.jpg 2011, installation, victory wreath of fresh jasmine flowers, pedestal, chrome holder with clip, spotlight. ACC Galerie, Weimar, Germany. The installation Jasmine Crown is based on the Jasmine Revolution in Tunisia. Seen from a distance, the flower piece might be mistaken for a bridal arrangement. On closer inspection, the shadow on the floor cast by a spotlight slanted from above reveals the shape of a victory wreath, its origin tracing back to the corona civica. The sweet scent of jasmines filled the space for the entire period of the exhibition. The fragile blossoms had to be replaced on a daily basis, and directed the attention to the theme of continuous destruction and renewal. https://freight.cargo.site/t/original/i/O2731059905157682839671626935320/jasminecrown_insert1b.jpg __________ Jasmine Crown https://preflight.kathrinschlegel.com/ein-seefahrer-und-ein-kettenraucher-spielen-eine-kerzenlange-schiffeversenken 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/W2729312874845377019058467253272/prt_1000x584_1468431895.jpg 2010, performance at Künstlerhaus Schloss Plüschow, Mecklenburg, Germany, May 22, 2010. Video of a performance, enacted by actual local residents: Captain Gerhard Zamzow (33 years at sea, 20 years as captain), and Kurt Lohmann. Duration of the performance: the time it takes a candle to burn down to its end, which is approximately 187’00’’. Video (6’40’’, HD 1080), c-print on aluminium (90 cm x 145 cm). A Sailor and a Chainsmoker Playing Battleship whilst a Candle Burns Down to its End is the result of an artistic investigation of the socio-cultural contexts of a dwindling Baltic marine region in former East Germany. The title of the work refers to the superstition that every time a cigarette is lit with a candle, a sailor dies. A local seaman and a chain-smoker are the two participants of the performance. The act consists of the men playing a game of Battleship at a small table for the time it took the candle between them to burn down to its end. https://freight.cargo.site/t/original/i/S2731054478439171003574603885592/ein-seefahrer.jpg 2010, performance at Künstlerhaus Schloss Plüschow, Mecklenburg, Germany, May 22, 2010. Video of a performance, enacted by actual local residents: Captain Gerhard Zamzow (33 years at sea, 20 years as captain), and Kurt Lohmann. Duration of the performance: the time it takes a candle to burn down to its end, which is approximately 187’00’’. Video (6’40’’, HD 1080), c-print on aluminium (90 cm x 145 cm). A Sailor and a Chainsmoker Playing Battleship whilst a Candle Burns Down to its End is the result of an artistic investigation of the socio-cultural contexts of a dwindling Baltic marine region in former East Germany. The title of the work refers to the superstition that every time a cigarette is lit with a candle, a sailor dies. A local seaman and a chain-smoker are the two participants of the performance. The act consists of the men playing a game of Battleship at a small table for the time it took the candle between them to burn down to its end. https://freight.cargo.site/t/original/i/U2731054478457617747648313437208/Seefahrer_layered1.jpg Filmstills and references https://freight.cargo.site/t/original/i/Y2731054478476064491722022988824/Seefahrer_layered2.jpg __________ Ein Seefahrer und ein Kettenraucher spielen eine Kerzenlänge Schiffeversenken https://preflight.kathrinschlegel.com/flyer-uncertain-ends 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/N2729312874771590042763629046808/prt_900x600_1478963839.jpg Title: Uncertain Ends I & II Author: Kathrin Schlegel, C-Space Publisher: Kathrin Schlegel, C-Space Designer: Niels Schrader, Mind Design Date published: Jan. 2012 Type: Print; Pamphlet, Folded leaflet, 420 × 594 mm (unfolded), Full-colour (front side); Black (back side); Double-sided Paper: Cocoon Offset, 120 g/m² Bedalitho, 80 g/m² Printer: drukkerij robstolk Language: English; Chinese Photographer: E. G. (Eric Gregory) Powell; X. (Xing) Dong Made possible by the generous support of Fund BKVB / Mondriaan Fund, Amsterdam, C-Space Beijing and Cusanuswerk Bonn https://freight.cargo.site/t/original/i/P2731043675417098884828762352664/_P3M0339_4.jpg https://freight.cargo.site/t/original/i/V2731043675509332605197310110744/_P3M0344_9.jpg https://freight.cargo.site/t/original/i/Q2731043675527779349271019662360/_P3M0345_10.jpg https://freight.cargo.site/t/original/i/Q2731043675361758652607633697816/_P3M0335_1.jpg https://freight.cargo.site/t/original/i/E2731043675546226093344729213976/_P3M0392_11.jpg Title: Uncertain Ends I & II Author: Kathrin Schlegel, C-Space Publisher: Kathrin Schlegel, C-Space Designer: Niels Schrader, Mind Design Date published: Jan. 2012 Type: Print; Pamphlet, Folded leaflet, 420 × 594 mm (unfolded), Full-colour (front side); Black (back side); Double-sided Paper: Cocoon Offset, 120 g/m² Bedalitho, 80 g/m² Printer: drukkerij robstolk Language: English; Chinese Photographer: E. G. (Eric Gregory) Powell; X. (Xing) Dong Made possible by the generous support of Fund BKVB / Mondriaan Fund, Amsterdam, C-Space Beijing and Cusanuswerk Bonn https://freight.cargo.site/t/original/i/T2731043675490885861123600559128/_P3M0343_8.jpg https://freight.cargo.site/t/original/i/D2731043675435545628902471904280/_P3M0340_5.jpg https://freight.cargo.site/t/original/i/V2731043675398652140755052801048/_P3M0337_3.jpg https://freight.cargo.site/t/original/i/A2731043675380205396681343249432/_P3M0336_2.jpg https://freight.cargo.site/t/original/i/V2731043675472439117049891007512/_P3M0342_7.jpg https://freight.cargo.site/t/original/i/J2731043675453992372976181455896/_P3M0341_6.jpg https://preflight.kathrinschlegel.com/uncertain-ends-i 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/Q2729312875140524924237820079128/prt_1800x627_1479589537.jpg 2011, contemporary Vanitas installation, 999 fragrant white lilies, metal construction, wiring, floral foam, plant food, water fogging system, piping. C-Space, Beijing, China; September 24 - October 24, 2011. This work was made possible with the generous support of the Mondriaan Fund and C-Space, Beijing. For C-Space in Beijing Kathrin Schlegel conceived a site-specific work investigating the multiple meanings that flowers have in different cultures, the result being a room-filling installation Uncertain Ends I, exhibiting 999 white fragrant lilies floating under the ceiling. In Chinese numerology the number 9 refers to all good things that last. According to a Chinese proverb the lily (百合, bǎi hé) helps a person to forget all troubles and the lily symbolizes eternal love. In traditional Christian floral iconography the lily symbolizes purity associated with the immaculate conception of the Virgin Mary. The floating installation also calls to mind the Hanging Gardens of Babylon, one of the Seven Wonders of the Ancient World. By combining scent, water mist and symbolically charged elements in an empty, brightly lit white room, the space becomes a meta-space, a cloud of unbearable beauty. As a contemporary Vanitas installation, the work reflects on the site- and context-specific perception of ephemeral phenomena, beauty, transience and their interplay. Impermanence is one of the essential doctrines and one of the three marks of existence in Buddhist philosophy. The installation was in a constant state of flux, a conversion of the endless cycle of ascent and decline into a medium. https://freight.cargo.site/t/original/i/O2731041742936189723016135060504/uncertain-end-1-keyimage.jpg 2011, contemporary Vanitas installation, 999 fragrant white lilies, metal construction, wiring, floral foam, plant food, water fogging system, piping. C-Space, Beijing, China; September 24 - October 24, 2011. This work was made possible with the generous support of the Mondriaan Fund and C-Space, Beijing. For C-Space in Beijing Kathrin Schlegel conceived a site-specific work investigating the multiple meanings that flowers have in different cultures, the result being a room-filling installation Uncertain Ends I, exhibiting 999 white fragrant lilies floating under the ceiling. In Chinese numerology the number 9 refers to all good things that last. According to a Chinese proverb the lily (百合, bǎi hé) helps a person to forget all troubles and the lily symbolizes eternal love. In traditional Christian floral iconography the lily symbolizes purity associated with the immaculate conception of the Virgin Mary. The floating installation also calls to mind the Hanging Gardens of Babylon, one of the Seven Wonders of the Ancient World. By combining scent, water mist and symbolically charged elements in an empty, brightly lit white room, the space becomes a meta-space, a cloud of unbearable beauty. As a contemporary Vanitas installation, the work reflects on the site- and context-specific perception of ephemeral phenomena, beauty, transience and their interplay. Impermanence is one of the essential doctrines and one of the three marks of existence in Buddhist philosophy. The installation was in a constant state of flux, a conversion of the endless cycle of ascent and decline into a medium. https://freight.cargo.site/t/original/i/Q2731041742973083211163554163736/Uncertain-Ends1_insert2.jpg __________ Uncertain Ends I https://freight.cargo.site/t/original/i/A2731041742954636467089844612120/Uncertain-Ends1_insert1.jpg https://preflight.kathrinschlegel.com/uncertain-ends-ii 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/U2729312874919163995353305459736/prt_1280x720_1476880876.jpg 2011, site-specific installation, sound recordings of a cricket, amplifier, MP3 players, sound system, wiring. C-Space, Beijing, October 25 - November 20 , 2011. This work was made possible with the generous support of the Mondriaan Fund and C-Space, Beijing and the kind help of sound artist Martijn Tellinga. Uncertain Ends II was born of Kathrin Schlegel’s fascination with the nocturnal singing of a cricket found living in the heating system of the exhibition space. In China the cricket is kept as a pet and performs as a gladiator and as a maestro. In literature it serves as the symbol of the reincarnation cycle. Schlegel reintroduced the recorded chirping of the by then deceased cricket as a new installation in the exhibition space. This sound installation in an otherwise empty space staged the ‘reincarnation’ of the cricket, creating a context-specific reality shift by evoking the recent history of the space, resulting in a pseudo-reality wavering between past and present. This installation remained on display until late November, when the change of season had made the presence of a living cricket unlikely. https://freight.cargo.site/t/original/i/N2731039579852532895760403016728/uncertainend2_keyimage.jpg 2011, site-specific installation, sound recordings of a cricket, amplifier, MP3 players, sound system, wiring. C-Space, Beijing, October 25 - November 20 , 2011. This work was made possible with the generous support of the Mondriaan Fund and C-Space, Beijing and the kind help of sound artist Martijn Tellinga. Uncertain Ends II was born of Kathrin Schlegel’s fascination with the nocturnal singing of a cricket found living in the heating system of the exhibition space. In China the cricket is kept as a pet and performs as a gladiator and as a maestro. In literature it serves as the symbol of the reincarnation cycle. Schlegel reintroduced the recorded chirping of the by then deceased cricket as a new installation in the exhibition space. This sound installation in an otherwise empty space staged the ‘reincarnation’ of the cricket, creating a context-specific reality shift by evoking the recent history of the space, resulting in a pseudo-reality wavering between past and present. This installation remained on display until late November, when the change of season had made the presence of a living cricket unlikely. https://freight.cargo.site/t/original/i/M2731039579889426383907822119960/uncertainends2_insert1.jpg __________ Uncertain Ends II https://preflight.kathrinschlegel.com/bitte-nicht-wieder-klauen 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/N2729312874697803066468790840344/prt_800x507_1468430601.jpg 2011, polished stainless steel sculpture, height approx. 85 cm, on existing pedestal (87cm x 50 cm x 60 cm) from which the original work was stolen. Concept in collaboration with Hagen Betzwieser. Permanent work in public space commissioned by the municipality of Utrecht, the Netherlands. The sculpture De Balspelers, two people engaged in a ballgame, by Jan Spiering, was stolen from its pedestal in Tuindorp, Utrecht, in 2008. Schlegel created a new artwork for the ‘orphaned’ pedestal utilizing the idea of ‘absent presence’ of the ball and the theme of the homo ludens as a tribute to Spiering’s sculpture. Suggesting the popular magic trick of the floating ball under a cloth, Schlegel’s polished steel sculpture shows the contours of a ball under a supple cloth, but when it is viewed from below it proves to be hollow. The iron stump on the pedestal bears testimony to the theft. https://freight.cargo.site/t/original/i/G2731037717081869588496171281432/bittenichtklauen_2b.jpg __________ Bitte nicht wieder klauen https://freight.cargo.site/t/original/i/F2731037717063422844422461729816/bittenichtklauen_1.jpg https://freight.cargo.site/t/original/i/Y2731037717100316332569880833048/IMG_1758-cut2b.jpg 2011, polished stainless steel sculpture, height approx. 85 cm, on existing pedestal (87cm x 50 cm x 60 cm) from which the original work was stolen. Concept in collaboration with Hagen Betzwieser. Permanent work in public space commissioned by the municipality of Utrecht, the Netherlands. The sculpture De Balspelers, two people engaged in a ballgame, by Jan Spiering, was stolen from its pedestal in Tuindorp, Utrecht, in 2008. Schlegel created a new artwork for the ‘orphaned’ pedestal utilizing the idea of ‘absent presence’ of the ball and the theme of the homo ludens as a tribute to Spiering’s sculpture. Suggesting the popular magic trick of the floating ball under a cloth, Schlegel’s polished steel sculpture shows the contours of a ball under a supple cloth, but when it is viewed from below it proves to be hollow. The iron stump on the pedestal bears testimony to the theft. https://preflight.kathrinschlegel.com/one-in-love-sees-a-flower-differently-than-a-camel-does 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/R2729312874660909578321371737112/prt_700x1050_1479589426.jpg 2014, reality shift, installation of street furniture, two park benches and two lanterns in a pond in a park-like setting. Permanent work in public space commissioned by the municipality of Hoorn, The Netherlands. Blokkerse Veld is a recently built housing complex located in and around the water in the municipality of Hoorn in the province of North Holland. The urban planners situated this neighbourhood in a spacious green area, preserving the old trees and vegetation, creating an idyllic atmosphere. Yellow lanterns based on a design by Friso Kramer - matching the colour of the pavement and junction boxes - were placed throughout the area. Schlegel’s idea for One in Love Sees a Flower Differently Than a Camel Does arose when she came across a declaration of love written in the snow on a thick layer of ice. Positioning two yellow lampposts and two park benches in the water, and adorning the benches with typical carved love messages and expressions of discontent, Schlegel created a romantic setting that is both familiar and alienating. The ensemble appears to be floating, unattainable, in solitude. The reflections on the smooth water surface blur the boundary between illusion and reality. An unsuspecting passer-by might be tempted to take a closer look at this surreal ensemble, and might return at night to enjoy a soothing moment of serenity. The title, an adage found on a Yogi tea bag, playfully invites a viewer to reflect upon the subjectivity of perception. https://freight.cargo.site/t/original/i/N2731033623472658471241024416792/oneinlove_insert1.jpg https://freight.cargo.site/t/original/i/Q2731033623491105215314733968408/oneinlove_insert2.jpg <div style="text-align: left;"> <a href="https://dl.dropboxusercontent.com/u/33445410/kathrin_camel_flyer.pdf" target="_blank">Download Flyer One in Love Sees a Flower Differently Than a Camel Does</a> __________ One in Love Sees a Flower Differently Than a Camel Does</div> https://freight.cargo.site/t/original/i/V2731033623509551959388443520024/oneinlove_keyimage1b.jpg 2014, reality shift, installation of street furniture, two park benches and two lanterns in a pond in a park-like setting. Permanent work in public space commissioned by the municipality of Hoorn, The Netherlands. Blokkerse Veld is a recently built housing complex located in and around the water in the municipality of Hoorn in the province of North Holland. The urban planners situated this neighbourhood in a spacious green area, preserving the old trees and vegetation, creating an idyllic atmosphere. Yellow lanterns based on a design by Friso Kramer - matching the colour of the pavement and junction boxes - were placed throughout the area. Schlegel’s idea for One in Love Sees a Flower Differently Than a Camel Does arose when she came across a declaration of love written in the snow on a thick layer of ice. Positioning two yellow lampposts and two park benches in the water, and adorning the benches with typical carved love messages and expressions of discontent, Schlegel created a romantic setting that is both familiar and alienating. The ensemble appears to be floating, unattainable, in solitude. The reflections on the smooth water surface blur the boundary between illusion and reality. An unsuspecting passer-by might be tempted to take a closer look at this surreal ensemble, and might return at night to enjoy a soothing moment of serenity. The title, an adage found on a Yogi tea bag, playfully invites a viewer to reflect upon the subjectivity of perception. https://preflight.kathrinschlegel.com/flyer-one-in-love 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/V2729312874753143298689919495192/prt_900x600_1478963709.jpg Title: ONE IN LOVE SEES A FLOWER DIFFERENTLY THAN A CAMEL DOES Author: Nils van Beek, Claire Butcher, Kathrin Schlegel, Publisher: Kathrin Schlegel, municipality of Hoorn Designer: Niels Schrader, Mind Design Date published: Jun 2014 Type: Print; Pamphlet; Folded leaflet, 420 × 594 mm (unfolded), Full-colour (front side); Full-colour (back side); Double-sided Paper: Olin, 80 gr/m² Printer: drukkerij robstolk Photographer: Q.R.J van Dijk, Kathrin Schlegel Language: English; Dutch Textediting: Suzie Hermán Translation: NL-EN Douglas Heingartner https://freight.cargo.site/t/original/i/U2731029674153879498541990292504/IMG_2484b_5.jpg https://freight.cargo.site/t/original/i/D2731029674116986010394571189272/_P3M0351_3.jpg https://freight.cargo.site/t/original/i/B2731029674080092522247152086040/_P3M0347_1.jpg Title: ONE IN LOVE SEES A FLOWER DIFFERENTLY THAN A CAMEL DOES Author: Nils van Beek, Claire Butcher, Kathrin Schlegel, Publisher: Kathrin Schlegel, municipality of Hoorn Designer: Niels Schrader, Mind Design Date published: Jun 2014 Type: Print; Pamphlet; Folded leaflet, 420 × 594 mm (unfolded), Full-colour (front side); Full-colour (back side); Double-sided Paper: Olin, 80 gr/m² Printer: drukkerij robstolk Photographer: Q.R.J van Dijk, Kathrin Schlegel Language: English; Dutch Textediting: Suzie Hermán Translation: NL-EN Douglas Heingartner https://freight.cargo.site/t/original/i/G2731029674135432754468280740888/_P3M0353_4.jpg https://freight.cargo.site/t/original/i/F2731029674098539266320861637656/_P3M0350_2.jpg https://preflight.kathrinschlegel.com/the-illusionist-keeps-the-edition-limited 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/G2729312874624016090173952633880/prt_700x466_1468432697.jpg 2013, displacement: a Tesla Roadster rotating on a solar powered display platform in the middle of an abandoned rural campsite; Video installation, 1280 x 720, 16:9, PAL, Stereo, 6:42 min. loop, photos. Kunstvereniging Diepenheim, Now I Lay Me Down to Eat, open-air exhibition in spring, exhibition in the Kunstvereniging in autumn. This work was made possible with the generous support of the Mondriaan Fund. In the context of Now I Lay me Down To Eat, an exhibition at an abandoned campsite surrounded by farmland and meadows full of cows, Kathrin Schlegel created an installation about society’s fascination with new technologies, classifying sustainability as a Zeitgeist phenomenon. In the middle of the ‘pristine nature’ a Tesla Roadster rotates on a platform powered by solar energy, similar to cars at an automobile convention, seemingly floating above the forest ground. The Tesla Roadster is advertised as the most efficient electric car to date, minimising environmental damage to the extreme. The sports car version in the installation, capable of accelerating from 0 to 100 km / h in a mere 3.5 seconds, becomes the ultimate icon of sustainability. Its placement amongst the greenery of the countryside winks at our ambivalent fascination with new sustainable technologies, our desire for luxury, status and grandeur, and the fashionable desire for the original and the natural, however artificial it may turn out to be. https://freight.cargo.site/t/original/i/G2731021078782797889134157507608/Theillusionist_insert2.jpg https://freight.cargo.site/t/original/i/T2731021078764351145060447955992/Theillusionist_insert1.jpg https://freight.cargo.site/t/original/i/Q2731021078727457656913028852760/IMG_0664.jpg 2013, displacement: a Tesla Roadster rotating on a solar powered display platform in the middle of an abandoned rural campsite; Video installation, 1280 x 720, 16:9, PAL, Stereo, 6:42 min. loop, photos. Kunstvereniging Diepenheim, Now I Lay Me Down to Eat, open-air exhibition in spring, exhibition in the Kunstvereniging in autumn. This work was made possible with the generous support of the Mondriaan Fund. In the context of Now I Lay me Down To Eat, an exhibition at an abandoned campsite surrounded by farmland and meadows full of cows, Kathrin Schlegel created an installation about society’s fascination with new technologies, classifying sustainability as a Zeitgeist phenomenon. In the middle of the ‘pristine nature’ a Tesla Roadster rotates on a platform powered by solar energy, similar to cars at an automobile convention, seemingly floating above the forest ground. The Tesla Roadster is advertised as the most efficient electric car to date, minimising environmental damage to the extreme. The sports car version in the installation, capable of accelerating from 0 to 100 km / h in a mere 3.5 seconds, becomes the ultimate icon of sustainability. Its placement amongst the greenery of the countryside winks at our ambivalent fascination with new sustainable technologies, our desire for luxury, status and grandeur, and the fashionable desire for the original and the natural, however artificial it may turn out to be. https://freight.cargo.site/t/original/i/R2731023199715644507963564108824/Illusionist2_StartImage.jpg __________ The Illusionist Keeps the Edition Limited https://preflight.kathrinschlegel.com/attributen 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/C2729312874882270507205886356504/prt_1091x1200_1480454032.jpg Attributen/ The spiritual economy of the object 2014 -, a growing archive of photographic works, presented as an installation in which key objects of local histories are being captured. Attributen is an installation presenting a growing archive of photographic works in which key objects of local stories are captured, specifically iconic objects closely related to rituals. This research originates from the material and immaterial importance of objects in relation to their site-specific context. The archive is a continuous project that moves from one location to another. Attribute 01, Ultrachrome print on Hahnemühle, framed, 80 x 55 cm. Silver Saint Barbara sculpture belonging to the Royal Netherlands Navy. Saint Barbara is known as one of the Fourteen Holy Helpers, and the patron saint of artillerymen. Saint Barbara is celebrated every year by the artillerymen of the Royal Netherlands Navy. Attribute 02, Ultrachrome print on Hahnemühle, framed, 80 x 110 cm. Cactus belonging to the Oranjerie De Groene Parel, Den Helder. In the past navy personnel brought exotic plants, seeds and cuttings as souvenirs from their travels. These souvenirs were the foundation of a botanical garden, with a greenhouse for cactuses, a tropical greenhouse and a unique Japanese garden. https://freight.cargo.site/t/original/i/M2731011552275415671089287801880/Attributen_layered4.jpg https://freight.cargo.site/t/original/i/L2731011552312309159236706905112/Attributen_layered6b.jpg __________ Attributen https://freight.cargo.site/t/original/i/T2731011552256968927015578250264/Attributen_layered3_3.jpg Lorem Ipsum... https://freight.cargo.site/t/original/i/C2731011552238522182941868698648/Attributen_layered2.jpg Lorem Ipsum... https://freight.cargo.site/t/original/i/Z2731011552220075438868159147032/Attributen_layered1.jpg https://freight.cargo.site/t/original/i/F2731011552293862415162997353496/Attributen_layered5.jpg https://freight.cargo.site/t/original/i/K2731011552201628694794449595416/20141013-150307.080-DH-PS16-9.jpg Attributen/ The spiritual economy of the object 2014 -, a growing archive of photographic works, presented as an installation in which key objects of local histories are being captured. Attributen is an installation presenting a growing archive of photographic works in which key objects of local stories are captured, specifically iconic objects closely related to rituals. This research originates from the material and immaterial importance of objects in relation to their site-specific context. The archive is a continuous project that moves from one location to another. Attribute 01, Ultrachrome print on Hahnemühle, framed, 80 x 55 cm. Silver Saint Barbara sculpture belonging to the Royal Netherlands Navy. Saint Barbara is known as one of the Fourteen Holy Helpers, and the patron saint of artillerymen. Saint Barbara is celebrated every year by the artillerymen of the Royal Netherlands Navy. Attribute 02, Ultrachrome print on Hahnemühle, framed, 80 x 110 cm. Cactus belonging to the Oranjerie De Groene Parel, Den Helder. In the past navy personnel brought exotic plants, seeds and cuttings as souvenirs from their travels. These souvenirs were the foundation of a botanical garden, with a greenhouse for cactuses, a tropical greenhouse and a unique Japanese garden. https://preflight.kathrinschlegel.com/tints-of-dawn-and-shades-of-dusk 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/U2729312874974504227574434114584/prt_1280x800_1475062780.jpg 2014, a visual research into the perception of the ephemeral phenomenon of twilight. Diptych, dawn 12 September 2014, 162 cm x 592 cm and dusk 13 September 2014, 162 cm x 592 cm, ultrachrome pigment photo print. This work was made possible with the generous support of the Mondriaan Fund. The light in Holland is a phenomenon of mythical proportions and has been a central theme in Dutch painting and poetry for centuries. During her stay at the Pompgemaal in Den Helder, a maritime city defined by its naval base, offshore industry and fishery, Schlegel researched, captured and materialized those moments of day when the light fades into darkness and when the light expels the night. For centuries ships determined their geographical position by means of celestial navigation during nautical twilight. Schlegel analyzed thousands of photographs, empirical observations of the half-light, and developed a system to extract the color and lightness values and then merge the acquired data into a single image. In this way, the entire duration of the transition from light to darkness, or vice versa, of each captured dusk or dawn becomes visible at a single glance. Two of the captured twilights have been reproduced as photo prints of almost 6 meters long. Every millimeter of these photo prints corresponds with a second of twilight. On the matte paper the subtle gradients obtain a velvety appearance. The works possess the qualities of an abstract painting; an abstract landscape scenery. https://freight.cargo.site/t/original/i/E2731008380210198244142211017752/tintsofdawn_insert_01b.jpg https://freight.cargo.site/t/original/i/V2731008380228644988215920569368/tintsofdawn_insert_02b.jpg __________ Tints of Dawn and Shades of Dusk https://freight.cargo.site/t/original/i/A2731008380191751500068501466136/tintsofdawn_01.jpg 2014, a visual research into the perception of the ephemeral phenomenon of twilight. Diptych, dawn 12 September 2014, 162 cm x 592 cm and dusk 13 September 2014, 162 cm x 592 cm, ultrachrome pigment photo print. This work was made possible with the generous support of the Mondriaan Fund. The light in Holland is a phenomenon of mythical proportions and has been a central theme in Dutch painting and poetry for centuries. During her stay at the Pompgemaal in Den Helder, a maritime city defined by its naval base, offshore industry and fishery, Schlegel researched, captured and materialized those moments of day when the light fades into darkness and when the light expels the night. For centuries ships determined their geographical position by means of celestial navigation during nautical twilight. Schlegel analyzed thousands of photographs, empirical observations of the half-light, and developed a system to extract the color and lightness values and then merge the acquired data into a single image. In this way, the entire duration of the transition from light to darkness, or vice versa, of each captured dusk or dawn becomes visible at a single glance. Two of the captured twilights have been reproduced as photo prints of almost 6 meters long. Every millimeter of these photo prints corresponds with a second of twilight. On the matte paper the subtle gradients obtain a velvety appearance. The works possess the qualities of an abstract painting; an abstract landscape scenery. https://preflight.kathrinschlegel.com/distillations-notes-on-kathrin-schlegel’s-insertions-in-public-space 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/A2729312874900717251279595908120/prt_1203x800_1478364962.jpg 2013, publication, 92 pages, full color, published by ONOMATOPEE, Eindhoven, designed by Niels Schrader, Minddesign Amsterdam. Authors: Alexandra Landré, Alena Alexandrova, Freek Lomme, Marcus Lütkemeyer, Maria Rus Bojan, Nils van Beek. Awarded as one of the “Best Dutch Book Designs 2013”. Ortsuntersuchung, associative artistic research is the starting point for all of Kathrin Schlegel’s projects. Distillations. Notes on Kathrin Schlegel's insertions in public space discloses this artistic research, presenting primary and secondary documentations of Schlegel’s recent works, including writings by different authors discussing the key topics in her work. Schlegel’s art acts as a common thread throughout the book, guiding the reader towards a deeper understanding of the relationship between the author, the artwork and its audience. Simultaneously, the symbolic manifestations and meanings of artwork in a public context generate the possibility of social interaction. The jury of the Best Dutch Book Designs 2013 described Distillations as a form of public space in and of itself. https://freight.cargo.site/t/original/i/J2731001112322160411094841175064/Distillations_14_-01Selected.jpg https://freight.cargo.site/t/original/i/S2731001112266820178873712520216/Distillations_08_-03Selected.jpg https://freight.cargo.site/t/original/i/Y2731001112119246226284036107288/20150201-Best-verzorgde-boeken-2013-171009.jpg https://freight.cargo.site/t/original/i/X2731001112193033202578874313752/Distillations_03_-06Selected.jpg https://freight.cargo.site/t/original/i/W2731001112211479946652583865368/Distillations_04_-03Selected.jpg https://freight.cargo.site/t/original/i/E2731001112100799482210326555672/20150201-Best-verzorgde-boeken-2013-170943.jpg https://freight.cargo.site/t/original/i/C2731001112137692970357745658904/20150201-Best-verzorgde-boeken-2013-171043.jpg __________ Distillations: Notes on Kathrin Schlegel’s insertions in public space This book discusses how we can and want to relate to our environment. It poses the question of the possibility of social interaction through symbolic gestures and through meanigs manifesting themselves – in particular those of an ephemere and temporary nature – in and via a work of art in its context. In particular, it elaborates on the context of the presentation, the relation between the author, the work and the public and the meanings concerned move in time. The publication also contains descriptions and an extensive review of Schlegell’s most recent work, as an illustration of her art practice and as a showcase in which these gestures take root. The sum of this book discusses the posture and potential of meaningful experiences and the process of signification through art in the (public) context. editing: Freek Lomme and Kathrin Schlegel; published by: Onomatopee; design; designed by Niels Schrader, Minddesign Amsterdam, printing: Robstolk __________ https://freight.cargo.site/t/original/i/B2731001112156139714431455210520/Distillations_01_-10Selected.jpg 2013, publication, 92 pages, full color, published by ONOMATOPEE, Eindhoven, designed by Niels Schrader, Minddesign Amsterdam. Authors: Alexandra Landré, Alena Alexandrova, Freek Lomme, Marcus Lütkemeyer, Maria Rus Bojan, Nils van Beek. Awarded as one of the “Best Dutch Book Designs 2013”. Ortsuntersuchung, associative artistic research is the starting point for all of Kathrin Schlegel’s projects. Distillations. Notes on Kathrin Schlegel's insertions in public space discloses this artistic research, presenting primary and secondary documentations of Schlegel’s recent works, including writings by different authors discussing the key topics in her work. Schlegel’s art acts as a common thread throughout the book, guiding the reader towards a deeper understanding of the relationship between the author, the artwork and its audience. Simultaneously, the symbolic manifestations and meanings of artwork in a public context generate the possibility of social interaction. The jury of the Best Dutch Book Designs 2013 described Distillations as a form of public space in and of itself. https://freight.cargo.site/t/original/i/G2731001112248373434800002968600/Distillations_06_-02Selected.jpg https://freight.cargo.site/t/original/i/O2731001112303713667021131623448/Distillations_12_-03Selected.jpg https://freight.cargo.site/t/original/i/G2731001112174586458505164762136/Distillations_02_-01Selected.jpg https://freight.cargo.site/t/original/i/V2731001112229926690726293416984/Distillations_05_-08Selected.jpg https://freight.cargo.site/t/original/i/R2731001112285266922947422071832/Distillations_11_-01Selected.jpg https://preflight.kathrinschlegel.com/flyer-save-our-souls 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/R2729312874790036786837338598424/prt_900x600_1478963858.jpg https://freight.cargo.site/t/original/i/D2729889466126841508115254488088/_P3M0367_7.jpg https://freight.cargo.site/t/original/i/T2729889466016161043672997178392/_P3M0320_1.jpg https://freight.cargo.site/t/original/i/C2729889466053054531820416281624/_P3M0358_6.jpg <div style="text-align: left;">__________ Frauen und Kinder zuerst</div> https://freight.cargo.site/t/original/i/Y2729889466034607787746706730008/_P3M0356_6.jpg https://freight.cargo.site/t/original/i/Y2729889466071501275894125833240/_P3M0361_4.jpg https://freight.cargo.site/t/original/i/X2729889466108394764041544936472/_P3M0366_7.jpg https://freight.cargo.site/t/original/i/B2729889466089948019967835384856/_P3M0362_5.jpg https://preflight.kathrinschlegel.com/save-our-souls 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/O2729312874992950971648143666200/prt_1280x800_1478448858.jpg 2013, insertion, reinstating the former discarded cross and adding a light sign on the roof of the deconsecrated Holy Trinity church in Münster, 67 cm x 39 cm x 8 cm, stainless steel sheathing with grey powder coating, white Perspex front cover, energy-saving white LED light. Self-initiated permanent intervention in public space with the support of Kunststiftung NRW, Wohn- und Stadtbau Münster, Kunsthalle Münster, the cultural office of the city of Münster and Pastor Frings. Shifting social and cultural needs in Western society have led to the deconsecration of several churches, including the Holy Trinity church at the Grevener Strasse/ York-Ring intersection in the Diocese of Münster. The buildings on this busy intersection serve as an allegory of our society: the fire department and rescue centre save lives in a physical sense (SOS/Save Our Souls). The Lincoln Center, a department store complex with the gigantic logo of the Saturn electronics department store atop, lures people into the consumerist temples of our days. The Holy Trinity church remains no more than a stone shell, bereft of its function as spiritual and ethical guide. For Save Our Souls Kathrin Schlegel rescued the discarded iron cross, attached a ring of light to it, like an aureole, and reinstated the cross on the church’s rooftop. The ring mirrors the planetary ring of the logo of the electronics giant Saturn which shines on the consumption temple across the road. With this subtly staged confluence of past and present, Save Our Souls invites reflection upon contemporary culture and shifting existential needs. https://freight.cargo.site/t/original/i/H2729882042714304389622654970904/Saveoursouls_insert_004.jpg <div style="text-align: left;">__________ Frauen und Kinder zuerst</div> https://freight.cargo.site/t/original/i/Y2729882042658964157401526316056/Saveoursouls_insert_001.jpg https://freight.cargo.site/t/original/i/F2729882042622070669254107212824/_DSC1929_01-1E.jpg https://freight.cargo.site/t/original/i/U2729882042640517413327816764440/20130303-Muenster-Art-194939_web.jpg 2013, insertion, reinstating the former discarded cross and adding a light sign on the roof of the deconsecrated Holy Trinity church in Münster, 67 cm x 39 cm x 8 cm, stainless steel sheathing with grey powder coating, white Perspex front cover, energy-saving white LED light. Self-initiated permanent intervention in public space with the support of Kunststiftung NRW, Wohn- und Stadtbau Münster, Kunsthalle Münster, the cultural office of the city of Münster and Pastor Frings. Shifting social and cultural needs in Western society have led to the deconsecration of several churches, including the Holy Trinity church at the Grevener Strasse/ York-Ring intersection in the Diocese of Münster. The buildings on this busy intersection serve as an allegory of our society: the fire department and rescue centre save lives in a physical sense (SOS/Save Our Souls). The Lincoln Center, a department store complex with the gigantic logo of the Saturn electronics department store atop, lures people into the consumerist temples of our days. The Holy Trinity church remains no more than a stone shell, bereft of its function as spiritual and ethical guide. For Save Our Souls Kathrin Schlegel rescued the discarded iron cross, attached a ring of light to it, like an aureole, and reinstated the cross on the church’s rooftop. The ring mirrors the planetary ring of the logo of the electronics giant Saturn which shines on the consumption temple across the road. With this subtly staged confluence of past and present, Save Our Souls invites reflection upon contemporary culture and shifting existential needs. https://freight.cargo.site/t/original/i/B2729882042695857645548945419288/Saveoursouls_insert_003.jpg https://preflight.kathrinschlegel.com/mono-winged-angel 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/M2729335507838210584034598333464/prt_385x531_1479636921.jpg 2009, two interventions in public space in Willemstad, permanent work at the Santa Maria Churchyard (restoration of damaged statue) and on the public burial ground Brievengat (cast ceramic reconstruction of restored statue). Instituto Buena Bista (IBB), Curaçao Center for Contemporary Art, Willemstad, Curaçao. This work is made possible with the generous support of the Mondriaan Fund. Kathrin Schlegel examined the omnipresence and ambiguities of religion in Curacao’s everyday life during a three-month residency at Instituto Buena Bista in Willemstad. This resulted in two site-specific and context-inspired works. At the gate of Santa Maria cemetery in central Willemstad she restored a badly damaged statue of one of the two angels, transforming it into an immaculate mono-winged angel. Schlegel added the missing arm, replaced the lost trumpet with a shiny new one made of chrome and fixed the damage to the angel’s back. The only imperfection she left untouched, was the missing second wing. On the outskirts of town, at Brievengat, Schlegel came across a final resting place for people who were not allowed to find peace at the church cemetery: criminals, illegal immigrants, have-nots, and people who took their own lives. The overgrown graveyard, without any decoration or holy effigies that are common throughout the Caribbean, is filled with nameless deceased, whose graves are only identifiable by numbers. Schlegel crafted a copy of God’s imperfect messenger and positioned it in this otherwise very bleak resting place for the departed outcasts of society. At the push of a button, the angel’s solar powered trumpet sounds. https://freight.cargo.site/t/original/i/V2729501962033359702173605309464/monowinged_insert2.jpg https://freight.cargo.site/t/original/i/P2729501961996466214026186206232/mono-winged_color.jpg 2009, two interventions in public space in Willemstad, permanent work at the Santa Maria Churchyard (restoration of damaged statue) and on the public burial ground Brievengat (cast ceramic reconstruction of restored statue). Instituto Buena Bista (IBB), Curaçao Center for Contemporary Art, Willemstad, Curaçao. This work is made possible with the generous support of the Mondriaan Fund. Kathrin Schlegel examined the omnipresence and ambiguities of religion in Curacao’s everyday life during a three-month residency at Instituto Buena Bista in Willemstad. This resulted in two site-specific and context-inspired works. At the gate of Santa Maria cemetery in central Willemstad she restored a badly damaged statue of one of the two angels, transforming it into an immaculate mono-winged angel. Schlegel added the missing arm, replaced the lost trumpet with a shiny new one made of chrome and fixed the damage to the angel’s back. The only imperfection she left untouched, was the missing second wing. On the outskirts of town, at Brievengat, Schlegel came across a final resting place for people who were not allowed to find peace at the church cemetery: criminals, illegal immigrants, have-nots, and people who took their own lives. The overgrown graveyard, without any decoration or holy effigies that are common throughout the Caribbean, is filled with nameless deceased, whose graves are only identifiable by numbers. Schlegel crafted a copy of God’s imperfect messenger and positioned it in this otherwise very bleak resting place for the departed outcasts of society. At the push of a button, the angel’s solar powered trumpet sounds. https://freight.cargo.site/t/original/i/V2729501962014912958099895757848/monowinged_insert1b.jpg https://freight.cargo.site/t/original/i/U2729501962051806446247314861080/monowinged_insert3.jpg https://freight.cargo.site/t/original/i/M2729501962070253190321024412696/monowinged_keyimage2.jpg __________ Mono-Winged Angel https://preflight.kathrinschlegel.com/wandererzähler 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/N2729312875048291203869272321048/prt_1420x947_1555670582.jpg 2017, sculpture carved from Caen limestone, based on a 3D-scan, manufactured with a computer-controlled 5-axis milling machine, manually finished by a stonemason, 170 x 75 x 75 cm on a concrete pedestal, mounted to a groin at ferry Dieren - Olburgen, the Netherlands, commissioned by Ijsselbiennale 2017. A statue of a frail old man on crutches carrying a child on his back across turbulent waters, carved from stone like classical sculptures of Saints. Installed on a groyne the sculpture overlooks the Dieren-Olburgen ferry, one of the oldest IJssel crossings which was first mentioned in an act from 1269, like a contemporary Saint Christopher, guarding over the river and its travelers. According to the story Saint Christopher could only barely manage to bring the child of Christ across a ferocious river, despite his enormous strength, because it carried the weight of the world on its shoulders. This statue does not depict a strong giant, but a fragile elderly person, which poses the ambiguous question about the contemporary value of wisdom and experience through ageing and the necessity of physical travel in an increasingly digitized age, where knowledge seems to unfold under the thumbs of the next generation, like Michel Serres poses. Wandererzähler also refers to the increasing threat of floods as an effect of the changing climate, caused by the rising sea level and the ever more frequent and more severe extreme weather conditions. The globally changing weather forces dangerous migration across continents and rough seas. https://freight.cargo.site/t/original/i/K2729496972410448692624407800856/20170614-204333.790-Christoffel-in-Dieren_bew_4web.jpg 2017, sculpture carved from Caen limestone, based on a 3D-scan, manufactured with a computer-controlled 5-axis milling machine, manually finished by a stonemason, 170 x 75 x 75 cm on a concrete pedestal, mounted to a groin at ferry Dieren - Olburgen, the Netherlands, commissioned by Ijsselbiennale 2017. A statue of a frail old man on crutches carrying a child on his back across turbulent waters, carved from stone like classical sculptures of Saints. Installed on a groyne the sculpture overlooks the Dieren-Olburgen ferry, one of the oldest IJssel crossings which was first mentioned in an act from 1269, like a contemporary Saint Christopher, guarding over the river and its travelers. According to the story Saint Christopher could only barely manage to bring the child of Christ across a ferocious river, despite his enormous strength, because it carried the weight of the world on its shoulders. This statue does not depict a strong giant, but a fragile elderly person, which poses the ambiguous question about the contemporary value of wisdom and experience through ageing and the necessity of physical travel in an increasingly digitized age, where knowledge seems to unfold under the thumbs of the next generation, like Michel Serres poses. Wandererzähler also refers to the increasing threat of floods as an effect of the changing climate, caused by the rising sea level and the ever more frequent and more severe extreme weather conditions. The globally changing weather forces dangerous migration across continents and rough seas. https://freight.cargo.site/t/original/i/C2729496972428895436698117352472/20170614-210707.370-Christoffel-in-DierenPS_4web.jpg __________ Wandererzähler https://freight.cargo.site/t/original/i/L2729496972447342180771826904088/Wandererzahler_inset1.jpg https://freight.cargo.site/t/original/i/B2729496972392001948550698249240/20160714-142122.000-Meesters-In.jpg https://freight.cargo.site/t/original/i/Z2729496972465788924845536455704/Wandererzahler_inset2.jpg https://preflight.kathrinschlegel.com/der-stein-des-weisen-the-humanist's-forlorn-throne 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/F2728108259494896837668396739608/prt_960x540_1548880592.jpg https://freight.cargo.site/t/original/i/R2729491160819068502651299834904/_0014_Layer-18.jpg https://freight.cargo.site/t/original/i/O2729491160726834782282752076824/_0004_Layer-5.jpg https://freight.cargo.site/t/original/i/A2729491160745281526356461628440/_0006_Layer-7.jpg https://freight.cargo.site/t/original/i/X2729491160837515246725009386520/_0015_Layer-19.jpg __________ Der Stein des Weisen - The humanist's forlorn throne https://freight.cargo.site/t/original/i/X2729491160800621758577590283288/_0011_Layer-14.jpg https://freight.cargo.site/t/original/i/A2729491160763728270430171180056/_0007_Layer-9.jpg https://freight.cargo.site/t/original/i/K2729491160782175014503880731672/_0009_Layer-12.jpg https://preflight.kathrinschlegel.com/der-stein-des-weisen-context-related-exhibition 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/C2729312874605569346100243082264/prt_645x430_1548881176.jpg Large objects, resembling pieces of a giant eggshell, lie scattered throughout the space. These are the remnants of the model that was used to cast the stainless-steel sculpture. A video projection shows the pedestal’s entire surface and slowly reveals the traces that 300 years of turbulent history left behind. Video credits: director Kathrin Schlegel, production, animation and texturing by Richard van Dijk, photogrammetric modelling by Th3rd, sound design by Martijn Tellinga, additional photo material by Gert-Jan van Rooij. HD 1920x1080 & UHD 3840x2160 (16:9) @ 60 fps, 35m 03s / dual channel Der Stein des Weisen is the title of the new work of art that is situated in Park Noord, campus Woudestein at the Erasmus University Rotterdam. It reactivates the historic pedestal that carried Hendrick de Keyser’s famous statue of humanist Desiderius Erasmus for around three centuries until it was replaced in 1963. This transhistorical work of art safeguards the nearly forgotten base for the future with a glass shelter and leaves open the possibility of one day being reunited with its original bronze statue. The pedestal is accompanied by a monumental stainless-steel sculpture that resembles a thought or speech bubble. The highly polished surface of the bubble reflects the spectator and the surroundings. The remaining footprint of the statue invites the beholder to follow in Erasmus’ footsteps, contemplate the philosopher’s thoughts and re-examine his legacy. https://freight.cargo.site/t/original/i/K2729486893958037045116044192792/_99C3633__o.jpg https://freight.cargo.site/t/original/i/N2729486893939590301042334641176/_99C3626__o.jpg https://freight.cargo.site/t/original/i/V2729486893921143556968625089560/_99C3615__o.jpg https://freight.cargo.site/t/original/i/H2729486893902696812894915537944/_99C3601__o.jpg https://freight.cargo.site/t/original/i/H2729486893884250068821205986328/_99C3580__o.jpg Large objects, resembling pieces of a giant eggshell, lie scattered throughout the space. These are the remnants of the model that was used to cast the stainless-steel sculpture. A video projection shows the pedestal’s entire surface and slowly reveals the traces that 300 years of turbulent history left behind. Video credits: director Kathrin Schlegel, production, animation and texturing by Richard van Dijk, photogrammetric modelling by Th3rd, sound design by Martijn Tellinga, additional photo material by Gert-Jan van Rooij. HD 1920x1080 & UHD 3840x2160 (16:9) @ 60 fps, 35m 03s / dual channel Der Stein des Weisen is the title of the new work of art that is situated in Park Noord, campus Woudestein at the Erasmus University Rotterdam. It reactivates the historic pedestal that carried Hendrick de Keyser’s famous statue of humanist Desiderius Erasmus for around three centuries until it was replaced in 1963. This transhistorical work of art safeguards the nearly forgotten base for the future with a glass shelter and leaves open the possibility of one day being reunited with its original bronze statue. The pedestal is accompanied by a monumental stainless-steel sculpture that resembles a thought or speech bubble. The highly polished surface of the bubble reflects the spectator and the surroundings. The remaining footprint of the statue invites the beholder to follow in Erasmus’ footsteps, contemplate the philosopher’s thoughts and re-examine his legacy. https://freight.cargo.site/t/original/i/Q2729486893976483789189753744408/_99C3646__o.jpg https://preflight.kathrinschlegel.com/der-stein-des-weisen-rce-magazine 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/Y2729312874568675857952823979032/prt_640x426_1548882553.jpg https://freight.cargo.site/t/original/i/X2729483410013717563961578236952/RCE_magazine_cover_1.jpg https://freight.cargo.site/t/original/i/Y2729483409995270819887868685336/RCE_magazine.jpg https://preflight.kathrinschlegel.com/der-stein-des-weisen-collection-of-essays 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/V2729312874550229113879114427416/prt_640x386_1540753266.jpg https://freight.cargo.site/t/original/i/J2729470927249576837297676102680/PS02_P3M1163.jpg https://freight.cargo.site/t/original/i/L2729470927268023581371385654296/PS03_P3M1162.jpg https://freight.cargo.site/t/original/i/I2729470927360257301739933412376/PS08_P3M1161.jpg https://freight.cargo.site/t/original/i/L2729470927304917069518804757528/PS05_P3M1165.jpg https://freight.cargo.site/t/original/i/Z2729470927323363813592514309144/PS06_P3M1166.jpg https://freight.cargo.site/t/original/i/W2729470927397150789887352515608/PS10_P3M1172.jpg https://freight.cargo.site/t/original/i/V2729470927341810557666223860760/PS07_P3M1170.jpg https://freight.cargo.site/t/original/i/N2729470927231130093223966551064/PS01_P3M1173.jpg https://freight.cargo.site/t/original/i/B2729470927378704045813642963992/PS09_P3M1169.jpg https://freight.cargo.site/t/original/i/M2729470927415597533961062067224/PS11_P3M1171.jpg https://freight.cargo.site/t/original/i/T2729470927434044278034771618840/PS12_P3M1175.jpg https://freight.cargo.site/t/original/i/M2729470927286470325445095205912/PS04_P3M1183.jpg https://preflight.kathrinschlegel.com/der-stein-des-weisen1 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/Q2729312875011397715721853217816/prt_1280x853_1540753849.jpg 2018, reinstating and preserving the original 17th century pedestal (144 cm x 144 cm x 200 cm) of Hendrick de Keyser’s statue of humanist Desiderius Erasmus in the public sphere as part of a contemporary artwork, as an ensemble accompanied by a monumental sculpture, approx. 600 cm high and 400 cm wide, made of polished stainless steel. Commissioned by the Erasmus University Rotterdam and generously supported by the Mondriaan Fund (in collaboration with the RCE, Cultural Heritage Agency of the Netherlands). This permanent artwork was commissioned in the context of the large-scale transformation of the campus of the Erasmus University and developed in a stimulating multi-disciplinary discourse on transhistorical curating and the inclusion of cultural heritage in contemporary artworks. Der Stein des Weisen consists of two elements: a monumental sculpture shaped like a thought or speech bubble that reflects its surroundings and the historical pedestal that carried Hendrick de Keyser’s statue of Erasmus for centuries. After the original pedestal was replaced in 1964, it fell into oblivion and was left to disintegrate for fifty years until Schlegel revived the former carrier of the oldest public statue of the Netherlands, brought it back into the public sphere, to be preserved as a relic of a vivid history, within a modern constellation. This witness of the changing perspectives on Erasmus over the past centuries is now the core of a new work of art that raises questions about the historical reception and actuality of Erasmus’s ideas, as well as the iconography of his image as a symbol of the city and the university. The remaining footprint of the statue invites the beholder to follow in Erasmus’ footsteps, contemplate the philosopher’s thoughts and re-examine his legacy. The title of the work literally refers to the pedestal that carried the famous Erasmus statue for nearly 300 years, i.e. the stone of the wise scholar, and it refers to lapis philosophorum – the ‘stone of the philosophers.’ Lapis philosophorum is the legendary alchemical substance capable of transforming base metals into noble metals. Traditionally, the quest for this impossible element symbolizes the humandesire for material wealth, as well as knowledge and enlightenment. https://freight.cargo.site/t/original/i/X2729457783962871063315859254296/Der_Stein_des_Weisen_02_Kathrin_Schlegel_2018.jpg On Monday 3 September 2018, the day of the Opening Academic Year 2018-2019, the permanent sculptural duo Der Stein des Weisen has been unveiled at Park Noord of the Erasmus University Rotterdam. The contemporary artwork consists of the historic pedestal that carried Hendrick de Keyser’s statue of Erasmus for centuries. The pedestal is accompanied by a monumental stainless-steel sculpture that resembles a thought or speech bubble. The highly polished surface of the bubble reflects the spectator and the surroundings. The ensemble invites the beholder to follow in Erasmus’ footsteps, contemplate the philosopher’s thoughts and re-examine his legacy. It is complemented by a publication conceptualised by the artist, which documents the process of realisation including different experts, and a video work. Both were presented when the ensemble first revealed. The pedestal is one of the two oldest pedestals in the Netherlands and once served as the base for Erasmus from 1622. After about 300 years, the statue and the pedestal were separated. The pedestal then stood in the schoolyard of the Gymnasium Erasmianum for years and was nearly forgotten, but now is reactivated within the new artwork. Making the forlorn pedestal a part of a new artwork is a contemporary reflection on the turbulent history of the base as well as on the changing perspectives on Erasmus’ thoughts that the base holds within itself. The monumental sculpture that serves as a landmark for the pedestal, refers in its form to the environmental artwork of Hans Petri from 1969, called ‘The Eggs of Petri’ by the campus inhabitants. Petri created the round shapes at the time as a contrast and a silent protest against the rectilinear, angular geometry of the modern buildings. On the other hand, the monumental speech/thought cloud blends with the campus environment through the reflective material. https://freight.cargo.site/t/original/i/V2729457783981317807389568805912/Der_Stein_des_Weisen_03_Kathrin_Schlegel_2018.jpg 2018, reinstating and preserving the original 17th century pedestal (144 cm x 144 cm x 200 cm) of Hendrick de Keyser’s statue of humanist Desiderius Erasmus in the public sphere as part of a contemporary artwork, as an ensemble accompanied by a monumental sculpture, approx. 600 cm high and 400 cm wide, made of polished stainless steel. Commissioned by the Erasmus University Rotterdam and generously supported by the Mondriaan Fund (in collaboration with the RCE, Cultural Heritage Agency of the Netherlands). This permanent artwork was commissioned in the context of the large-scale transformation of the campus of the Erasmus University and developed in a stimulating multi-disciplinary discourse on transhistorical curating and the inclusion of cultural heritage in contemporary artworks. Der Stein des Weisen consists of two elements: a monumental sculpture shaped like a thought or speech bubble that reflects its surroundings and the historical pedestal that carried Hendrick de Keyser’s statue of Erasmus for centuries. After the original pedestal was replaced in 1964, it fell into oblivion and was left to disintegrate for fifty years until Schlegel revived the former carrier of the oldest public statue of the Netherlands, brought it back into the public sphere, to be preserved as a relic of a vivid history, within a modern constellation. This witness of the changing perspectives on Erasmus over the past centuries is now the core of a new work of art that raises questions about the historical reception and actuality of Erasmus’s ideas, as well as the iconography of his image as a symbol of the city and the university. The remaining footprint of the statue invites the beholder to follow in Erasmus’ footsteps, contemplate the philosopher’s thoughts and re-examine his legacy. The title of the work literally refers to the pedestal that carried the famous Erasmus statue for nearly 300 years, i.e. the stone of the wise scholar, and it refers to lapis philosophorum – the ‘stone of the philosophers.’ Lapis philosophorum is the legendary alchemical substance capable of transforming base metals into noble metals. Traditionally, the quest for this impossible element symbolizes the humandesire for material wealth, as well as knowledge and enlightenment. https://freight.cargo.site/t/original/i/N2729457783999764551463278357528/Der_Stein_des_Weisen_07_Kathrin_Schlegel_2018.jpg This transhistorical work of art safeguards the nearly forgotten base for the future with a glass shelter and leaves open the possibility of one day being reunited with its original bronze statue. The title Der Stein des Weisen literally refers to ‘the stone of the wise scientist’, but also to the legendary alchemical element that could transform base metals into precious metals, lapis philosophorum. The search for this impossible element traditionally symbolizes the human desire for material wealth, but also for knowledge and enlightenment. The artwork was commissioned by the Erasmus University Rotterdam and was made possible by the generous support from the Mondriaan Fund (Grants for Commissioning Contemporary Art) and the expert advice from the Cultural Heritage Agency of the Netherlands (Rijksdienst voor het Cultureel Erfgoed). <a href="https://files.cargocollective.com/699561/PressStatement_DUT_ENG.pdf" target="_blank">[download press statement here]</a> <a href="https://files.cargocollective.com/699561/RCE_Conditierapport_en_advies_sokkel_Erasmus_9-9-2010.pdf" target="_blank">[download RCE "conditierapport en advies sokkel"(Dutch) here]</a> __________ Der Stein des Weisen https://preflight.kathrinschlegel.com/der-stein-des-weisen2 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/J2728108259476450093594687187992/prt_900x600_1478964367.jpg 2012-2018, reinstating and preserving the original 17th century pedestal (approx. 144 cm x 144 cm x 200 cm) of Hendrick de Keyser’s statue of humanist Erasmus in the public sphere as part of a contemporary artwork, as an ensemble accompanied by a monumental sculpture, approx. 600 cm high and 400 cm wide, made of polished stainless steel. Permanent work and artistic research in public space commissioned by the Erasmus University in Rotterdam and generously supported by the Mondriaan Fund. This permanent artwork was commissioned in the context of the large-scale transformation of the campus of the Erasmus University and developed in a stimulating multi-disciplinary discourse on transhistorical curating and the inclusion of cultural heritage in contemporary artworks. Der Stein des Weisen consists of two elements: a monumental sculpture shaped like a thought or speech bubble that reflects its surroundings and the historical pedestal that carried Hendrick de Keyser’s statue of Erasmus for centuries. After the original pedestal was replaced in 1964, it fell into oblivion and was left to disintegrate for fifty years until Schlegel revived the former carrier of the oldest public statue of the Netherlands, brought it back into the public sphere, to be preserved as a relic of a vivid history, within a modern constellation. This witness of the changing perspectives on Erasmus over the past centuries is now the core of a new work of art that raises questions about the historical reception and actuality of Erasmus’s ideas, as well as the iconography of his image as a symbol of the city and the university. This transhistorical work of art safeguards the nearly forgotten base for the future with a glass shelter and leaves open the possibility of one day being reunited with its original bronze statue. The remaining footprint of the statue invites the beholder to follow in Erasmus’ footsteps, contemplate the philosopher’s thoughts and re-examine his legacy. The title of the work literally refers to the pedestal that carried the famous Erasmus statue for nearly 300 years, i.e. the stone of the wise scholar, and it refers to lapis philosophorum – the ‘stone of the philosophers.’ Lapis philosophorum is the legendary alchemical substance capable of transforming base metals into noble metals. Traditionally, the quest for this impossible element symbolizes the human desire for material wealth, as well as knowledge and enlightenment. https://freight.cargo.site/t/original/i/V2729463348644581826686618840088/20151013-114014.000-Kunstgiesserei-Kayser.jpg https://freight.cargo.site/t/original/i/K2729463348699922058907747494936/20160714-132356.590-Meesters-In.jpg 2012-2018, reinstating and preserving the original 17th century pedestal (approx. 144 cm x 144 cm x 200 cm) of Hendrick de Keyser’s statue of humanist Erasmus in the public sphere as part of a contemporary artwork, as an ensemble accompanied by a monumental sculpture, approx. 600 cm high and 400 cm wide, made of polished stainless steel. Permanent work and artistic research in public space commissioned by the Erasmus University in Rotterdam and generously supported by the Mondriaan Fund. This permanent artwork was commissioned in the context of the large-scale transformation of the campus of the Erasmus University and developed in a stimulating multi-disciplinary discourse on transhistorical curating and the inclusion of cultural heritage in contemporary artworks. Der Stein des Weisen consists of two elements: a monumental sculpture shaped like a thought or speech bubble that reflects its surroundings and the historical pedestal that carried Hendrick de Keyser’s statue of Erasmus for centuries. After the original pedestal was replaced in 1964, it fell into oblivion and was left to disintegrate for fifty years until Schlegel revived the former carrier of the oldest public statue of the Netherlands, brought it back into the public sphere, to be preserved as a relic of a vivid history, within a modern constellation. This witness of the changing perspectives on Erasmus over the past centuries is now the core of a new work of art that raises questions about the historical reception and actuality of Erasmus’s ideas, as well as the iconography of his image as a symbol of the city and the university. This transhistorical work of art safeguards the nearly forgotten base for the future with a glass shelter and leaves open the possibility of one day being reunited with its original bronze statue. The remaining footprint of the statue invites the beholder to follow in Erasmus’ footsteps, contemplate the philosopher’s thoughts and re-examine his legacy. The title of the work literally refers to the pedestal that carried the famous Erasmus statue for nearly 300 years, i.e. the stone of the wise scholar, and it refers to lapis philosophorum – the ‘stone of the philosophers.’ Lapis philosophorum is the legendary alchemical substance capable of transforming base metals into noble metals. Traditionally, the quest for this impossible element symbolizes the human desire for material wealth, as well as knowledge and enlightenment. https://freight.cargo.site/t/original/i/L2729463348810602523350004804632/Quote-Faus_scaled.png https://freight.cargo.site/t/original/i/N2729463348829049267423714356248/Screen-Shot-2020-04-20-at-12.25.19.png https://freight.cargo.site/t/original/i/M2729463348736815547055166598168/Der_Stein_des_Weisen_05_Kathrin_Schlegel_2018.jpg https://freight.cargo.site/t/original/i/Z2729463348755262291128876149784/Der_Stein_des_Weisen_07_Kathrin_Schlegel_2018.jpg https://freight.cargo.site/t/original/i/Y2729463348773709035202585701400/Der-Stein-des-Weisen_inset_8.jpg https://preflight.kathrinschlegel.com/lost-embrace-1 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/A2729312875085184692016691424280/prt_1600x1066_1594734876.jpg 2012, 182 x 58 x 56 cm, chinese porcelain In the year 2020 Lost Embrace gained new relevance as the work embodies the present absence of physical contact. Especially now, in the disturbing times of the Corona virus and the compulsory 1.5 m society, limited physical contact is the new reality. But still, the craving for human touch, or "skin hunger", has never been more prevalent. Lost Embrace is a man-sized porcelain vase glazed with a greenish white jade-enamel in the Jingdezhen Qingbai style, produced in Jingdezhen, the porcelain capital of China due to its longstanding history of high quality earthenware production. Schlegel embraced the vase during the production process when the clay was still wet, a loving gesture that interfered with the delicate process and the pursuit of perfection, and left behind traces of the human touch. https://freight.cargo.site/t/original/i/A2729448822663727263731651062808/Lost_embrace_layered3_6.jpg https://freight.cargo.site/t/original/i/W2729448822645280519657941511192/Lost_embrace_layered1.jpg https://freight.cargo.site/t/original/i/S2729448822719067495952779717656/Twee-vazen_cut_o.jpg 2012, 182 x 58 x 56 cm, chinese porcelain In the year 2020 Lost Embrace gained new relevance as the work embodies the present absence of physical contact. Especially now, in the disturbing times of the Corona virus and the compulsory 1.5 m society, limited physical contact is the new reality. But still, the craving for human touch, or "skin hunger", has never been more prevalent. Lost Embrace is a man-sized porcelain vase glazed with a greenish white jade-enamel in the Jingdezhen Qingbai style, produced in Jingdezhen, the porcelain capital of China due to its longstanding history of high quality earthenware production. Schlegel embraced the vase during the production process when the clay was still wet, a loving gesture that interfered with the delicate process and the pursuit of perfection, and left behind traces of the human touch. https://freight.cargo.site/t/original/i/V2729448822682174007805360614424/Screen-Shot-2020-07-14-at-15.35.25.png <a href="https://www.parool.nl/nederland/waarom-we-massaal-huidhonger-hebben~b087e17f/" target="_blank">Read the whole article here</a> https://freight.cargo.site/t/original/i/W2729448822626833775584231959576/20150606-Vaas-in-Diepenheim-162545.900TighterCrop_o.jpg Exhibition view: Waar de hand zingt, Kunstvereniging Diepenheim 2014 All images copyright © Kathrin Schlegel; photo credits: Kathrin Schlegel, Roel Backaert, Q.R.J van Dijk __________ Lost Embrace https://preflight.kathrinschlegel.com/feeding-from-the-tree-of-knowledge 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/S2729312875103631436090400975896/prt_1642x900_1587902974.jpg ‘Monument for a Lichen’, a tribute to an underappreciated lifeform. 2020, a monumental bronze sculpture 3,0 x 3,2 x 4,75 m attached to an artificial rock of fibre infused pigmented architectonical concrete of 2,5 x 2,5 x 0,95 m – that surmounts an artificial elevation/ sloping lounging hill (approx. 20 x 11 x 2 m ) inserted in the landscaping design to form the centre of the new park scape of the Clock Axis. Campus Ås, Norwegian University of Life Sciences (NMBU), Oslo, Norway, commissioned by KORO, Norway. https://freight.cargo.site/t/original/i/W2729398849622374845313103047704/Slides_a9.jpg https://freight.cargo.site/t/original/i/T2729398849640821589386812599320/Slides_a10.jpg So grateful to work on this project with Koro, guided by such inspiring, engaged projectmanagers and curators Robert Johansson and Trond Hugo Haugen, the team of landscaping architects, advising architects and engineers, Tunge Ting, the team of Kunstgiesserei Kayser (AHW Ingenieurs, model maker Denkmal 3d/ Ego3d, Frank Broos, Transport Niesen) and many more. https://freight.cargo.site/t/original/i/F2729398849437907404576007531544/DJI_0058_31.jpg The work Feeding from the Tree of Knowledge takes a lichen found on the bark of Tuntreet as a starting point. This tree has been planted in 1864 as a symbol to the founding of the agricultural school; predecessor of the current multidisciplinary university of Life Sciences. Hence, this tree has been witness to all the knowledge gained at the campus. Taking the lichen symbolises the passing on of these bodies of knowledge to the new campus to inspire further knowledge growth. Given that lichen is a bio-indicator the work of art alludes to the question how we can treat earth responsibly and also unfolds several cultural-historical references, linking agricultural revolution to the biblical expulsion from Paradise and themes from Norwegian mythology. The little symbiotic organism has been captured by means of a high-resolution computed tomography scan (CT-scan). Subsequently a monumental type of filigree modelled after the lichen has been casted in bronze and ‘planted’ on a hill in the heart of a new park scape that will serve as a meeting point in the learning garden for the students. Like lichen, bronze is sensitive to air quality; weathering of the bronze shows through colouring, the appearance of colour streaking and the formation of incrustations. The surface of the bronze sculpture is slightly pre-patinated with a subtle greenish film, to instigate oxidation, and over time it will become greener and gain patina, aging with its environment as it were. https://freight.cargo.site/t/original/i/Z2729398849530141124944555289624/Slides_a4.jpg https://freight.cargo.site/t/original/i/I2729398849105866011249235602456/_99C0106_12.jpg https://freight.cargo.site/t/original/i/Y2729398849216546475691492912152/_99C5932_14.jpg https://freight.cargo.site/t/original/i/R2729398849567034613091974392856/Slides_a6.jpg https://freight.cargo.site/t/original/i/S2729398849382567172354878876696/_99C6358_22.jpg https://freight.cargo.site/t/original/i/N2729398849456354148649717083160/IMG_2832_Crop4Web.jpg ‘Monument for a Lichen’, a tribute to an underappreciated lifeform. 2020, a monumental bronze sculpture 3,0 x 3,2 x 4,75 m attached to an artificial rock of fibre infused pigmented architectonical concrete of 2,5 x 2,5 x 0,95 m – that surmounts an artificial elevation/ sloping lounging hill (approx. 20 x 11 x 2 m ) inserted in the landscaping design to form the centre of the new park scape of the Clock Axis. Campus Ås, Norwegian University of Life Sciences (NMBU), Oslo, Norway, commissioned by KORO, Norway. https://freight.cargo.site/t/original/i/V2729398849161206243470364257304/_99C5761.jpg Here are some impressions of the installation. I'm looking forward to the moment the artificial hill and the park scape are finished and the work amalgamates with daily life at the campus. https://freight.cargo.site/t/original/i/N2729398849511694380870845738008/Slides_a3.jpg https://freight.cargo.site/t/original/i/Z2729398849253439963838912015384/_99C5991_16.jpg https://freight.cargo.site/t/original/i/R2729398849198099731617783360536/_99C5887_13.jpg https://freight.cargo.site/t/original/i/Y2729398849179652987544073808920/_99C5877_12.jpg https://freight.cargo.site/t/original/i/U2729398849493247636797136186392/Slides_a2.jpg https://freight.cargo.site/t/original/i/X2729398849474800892723426634776/Slides_a.jpg https://freight.cargo.site/t/original/i/N2729398849585481357165683944472/Slides_a7.jpg https://freight.cargo.site/t/original/i/X2729398849345673684207459773464/_99C6232_20.jpg https://freight.cargo.site/t/original/i/B2729398849271886707912621567000/_99C6074_17.jpg https://freight.cargo.site/t/original/i/P2729398849603928101239393496088/Slides_a8.jpg https://freight.cargo.site/t/original/i/F2729398849142759499396654705688/_99C0193.jpg https://freight.cargo.site/t/original/i/A2729398849234993219765202463768/_99C5988_15.jpg https://freight.cargo.site/t/original/i/Y2729398849364120428281169325080/_99C6293_23.jpg https://freight.cargo.site/t/original/i/X2729398849419460660502297979928/_99C6409_23.jpg https://freight.cargo.site/t/original/i/R2729398849124312755322945154072/_99C0141.jpg https://freight.cargo.site/t/original/i/Z2729398849327226940133750221848/_99C6225_21.jpg https://freight.cargo.site/t/original/i/Q2729398849548587869018264841240/Slides_a5.jpg https://freight.cargo.site/t/original/i/Y2729398849290333451986331118616/_99C6109_19.jpg https://preflight.kathrinschlegel.com/find-out-where-you-stand 2026-01-05T13:38:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/H2729312875066737947942981872664/prt_1600x1007_1714122217.jpg ind out where you stand is a five meters long light artwork engaging with the Special Collections of Maastricht University. Maastricht University Library houses and preserves these heritage collections and stimulates their usage in research and teaching activities. The tenth edition of the Mercator-Hondius atlas, a renaissance atlas dating from 1628, is a remarkable artifact within these collections. This atlas is ecclesiastical heritage of the Catholic parish H. Remigius and has been held behind closed doors in the vault of the Simpelveld sacristy and rectory until it was given on long-term loan to the University Library in 2015. Cosmographer Gerard Mercator engraved (world) maps, constructed globes, invented the Mercator projection named after him and coined the term ‘atlas’ to describe a collection of maps in book form. The atlas in question, Atlas sive Cosmographicae Meditationes de Fabrica Mundi et Fabrica Figura, in English Atlas, or Cosmographic Meditations on the Fabric of the World and the Figure of the Fabrick'd, contains more than 150 maps coloured by hand which are, notable for their detailed depiction of the world then known to its makers. This is the first edition in which cartographer Jodocus Hondius signed his name under some of the Mercator maps that he edited. Mapmaking can be seen as an attempt to form an understanding and an image of the world around us and our place within it – an imprint that has literally and figuratively been coloured by the worldview of its makers. A map is never an exact nor complete representation of reality. A map is a subjective interpretation of the cartographer, depending on the purpose of the map as well as the time and society in which it has been created. Questioning how a worldview comes about formed the basis for the light artwork. The work of art is embedded in the mezzanine of the University Library’s reading room, located at the Looierstraat. It invites to think through one's positions, not only in geographical but as much in socio-political dimensions, when studying and opening up perspectives on the world. The artist’s intention to create a light artwork with a minimal environmental footprint ties in with the university’s aspiration towards sustainable energy consumption. Maastricht University has, for example, invested in a local solar park recently. Together the artist and the artwork-group initiated a development process to link information about the energy consumption of the university, and in particular the building in which the artwork has been embedded, to the amount of electricity generated by the solar park. The aim is to make this information visible on the general information screens to stimulate reflection on the environmental impact of our actions and thus make climate awareness part of daily routine. Furthermore part of the art budget is allocated to a foundation which plants trees and restores existing forests all over the world to (somewhat) increase CO2 capture and storage. https://freight.cargo.site/t/original/i/R2729391792156346661070588488728/Slides-website-maastricht2.jpg https://freight.cargo.site/t/original/i/I2729391792101006428849459833880/_99C9628-2_PS_V-19_R-0.4_Final_CROP1_desat_o.jpg ind out where you stand is a five meters long light artwork engaging with the Special Collections of Maastricht University. Maastricht University Library houses and preserves these heritage collections and stimulates their usage in research and teaching activities. The tenth edition of the Mercator-Hondius atlas, a renaissance atlas dating from 1628, is a remarkable artifact within these collections. This atlas is ecclesiastical heritage of the Catholic parish H. Remigius and has been held behind closed doors in the vault of the Simpelveld sacristy and rectory until it was given on long-term loan to the University Library in 2015. Cosmographer Gerard Mercator engraved (world) maps, constructed globes, invented the Mercator projection named after him and coined the term ‘atlas’ to describe a collection of maps in book form. The atlas in question, Atlas sive Cosmographicae Meditationes de Fabrica Mundi et Fabrica Figura, in English Atlas, or Cosmographic Meditations on the Fabric of the World and the Figure of the Fabrick'd, contains more than 150 maps coloured by hand which are, notable for their detailed depiction of the world then known to its makers. This is the first edition in which cartographer Jodocus Hondius signed his name under some of the Mercator maps that he edited. Mapmaking can be seen as an attempt to form an understanding and an image of the world around us and our place within it – an imprint that has literally and figuratively been coloured by the worldview of its makers. A map is never an exact nor complete representation of reality. A map is a subjective interpretation of the cartographer, depending on the purpose of the map as well as the time and society in which it has been created. Questioning how a worldview comes about formed the basis for the light artwork. The work of art is embedded in the mezzanine of the University Library’s reading room, located at the Looierstraat. It invites to think through one's positions, not only in geographical but as much in socio-political dimensions, when studying and opening up perspectives on the world. The artist’s intention to create a light artwork with a minimal environmental footprint ties in with the university’s aspiration towards sustainable energy consumption. Maastricht University has, for example, invested in a local solar park recently. Together the artist and the artwork-group initiated a development process to link information about the energy consumption of the university, and in particular the building in which the artwork has been embedded, to the amount of electricity generated by the solar park. The aim is to make this information visible on the general information screens to stimulate reflection on the environmental impact of our actions and thus make climate awareness part of daily routine. Furthermore part of the art budget is allocated to a foundation which plants trees and restores existing forests all over the world to (somewhat) increase CO2 capture and storage. https://freight.cargo.site/t/original/i/B2729391792174793405144298040344/Slides-website-maastricht3.jpg __________ find out where you stand https://freight.cargo.site/t/original/i/R2729391792137899916996878937112/Slides-website-maastricht1.jpg https://preflight.kathrinschlegel.com/exhausted-mirror 2026-01-05T13:38:16+00:00 always 0.5 https://freight.cargo.site/t/original/i/O2729312874587122602026533530648/prt_640x426_1673534911.jpg Vedute Collection was founded in 1991 with the purpose to build up a collection of 3D-manuscripts: a library of three dimensional objects as visualized thoughts that make the concept of space accessible and tangible. Vedute invites artists, designers, architects and people working in other disciplines to represent their personal views on space in a three-dimensional work that, when closed, measures 44 x 32 x 7 cm. For this collection I conceived the work Exhausted Mirror During the early years of photography, photographs were also referred to as ‘mirrors blessed with a memory’. In Exhausted Mirror, I tell a fictional story about an antique mirror that is also blessed with a memory, in which it remembers and stores all the images of every moment it has experienced over the past turbulent one hundred and fifty years. As a three-dimensional manuscript in the form of a box measuring 44 x 32 x 7 cm, the mirror has a moment of rest – no longer does it have to continuously absorb the world around it, and maybe it can finally release its impressions. My artistic method is rooted in the realization that space cannot exist without a historical and topical reference framework, and without spectators who relate to this space. A mirror is not a neutral object: as a virtual space, it is both of current and historical significance. Its reflective nature repeatedly invites observers to relate to both the mirror and its historical context(s) from the viewpoint of their own personal context. The mirror that forms the basis for my design dates back to the Biedermeier period, and since its creation has witnessed the emergence of citizenship, various imperialism(s) and two world wars. It was later owned by a fashion model from the GDR who famously featured on the covers of East German magazines. With the female body and the idea of the transience of beauty as a reference point, an artistic reference to the iconography of vanitas requires but a short leap of the imagination. At the same time, the mirror has become part of the narrative of the Cold War, and as such reveals new meaning in the present day, in which that same field of conflict appears to have acquired a new contemporary relevance. With thanks to Jan-Hindrik Blekker (master cabinet maker) and Willem van Oijen (glass artist). https://freight.cargo.site/t/original/i/F2729387101075541740436774333464/_99C1143_4.jpg https://freight.cargo.site/t/original/i/J2729387101057094996363064781848/_99C1127_3.jpg https://freight.cargo.site/t/original/i/F2729387101020201508215645678616/_99C1085PS_1.jpg Vedute Collection was founded in 1991 with the purpose to build up a collection of 3D-manuscripts: a library of three dimensional objects as visualized thoughts that make the concept of space accessible and tangible. Vedute invites artists, designers, architects and people working in other disciplines to represent their personal views on space in a three-dimensional work that, when closed, measures 44 x 32 x 7 cm. For this collection I conceived the work Exhausted Mirror During the early years of photography, photographs were also referred to as ‘mirrors blessed with a memory’. In Exhausted Mirror, I tell a fictional story about an antique mirror that is also blessed with a memory, in which it remembers and stores all the images of every moment it has experienced over the past turbulent one hundred and fifty years. As a three-dimensional manuscript in the form of a box measuring 44 x 32 x 7 cm, the mirror has a moment of rest – no longer does it have to continuously absorb the world around it, and maybe it can finally release its impressions. My artistic method is rooted in the realization that space cannot exist without a historical and topical reference framework, and without spectators who relate to this space. A mirror is not a neutral object: as a virtual space, it is both of current and historical significance. Its reflective nature repeatedly invites observers to relate to both the mirror and its historical context(s) from the viewpoint of their own personal context. The mirror that forms the basis for my design dates back to the Biedermeier period, and since its creation has witnessed the emergence of citizenship, various imperialism(s) and two world wars. It was later owned by a fashion model from the GDR who famously featured on the covers of East German magazines. With the female body and the idea of the transience of beauty as a reference point, an artistic reference to the iconography of vanitas requires but a short leap of the imagination. At the same time, the mirror has become part of the narrative of the Cold War, and as such reveals new meaning in the present day, in which that same field of conflict appears to have acquired a new contemporary relevance. With thanks to Jan-Hindrik Blekker (master cabinet maker) and Willem van Oijen (glass artist). https://freight.cargo.site/t/original/i/H2729387101112435228584193436696/2022-10-22-17-00-51-A-Radius8-Smoothing4PS_6.jpg https://freight.cargo.site/t/original/i/D2729387101038648252289355230232/_99C1089PS_2.jpg https://freight.cargo.site/t/original/i/S2729387101130881972657902988312/2022-10-22-17-28-52-A-Radius8-Smoothing4PS_7.jpg __________ Exhausted Mirror https://freight.cargo.site/t/original/i/B2729387101093988484510483885080/2022-10-22-16-56-58-A-Radius8-Smoothing4PS_5.jpg https://preflight.kathrinschlegel.com/de-lucht-lezen 2026-01-05T13:38:16+00:00 always 0.5 https://freight.cargo.site/t/original/i/X2729312875029844459795562769432/prt_1350x900_1673793822.jpg Realization 2020-2022, implementing a wooden structure inspired by the Archimedean screw resembling a peacock (approx. 4,40 m x 3,50 m x 4,80 m, accompanied by two mirror objects), atop a small hill in a park-like setting. Permanent work in public space. Commissioned by the municipality of Alkmaar, the Netherlands. De Pauw, (English: The Peacock) is the name of a newly built residential area in the village De Rijp which took its name from a historic wind-sawmill that once stood in the same area. This sawmill supplied wood to the village De Rijp when it still had an open connection to the North sea and was a thriving harbour. When the wetlands around De Rijp were turned into polders by building dikes around it and pumping out the water with water pump mills, the village lost its function as a sea harbour and out of necessity transitioned into a society of agriculture and horticulture. The work “de lucht lezen” was inspired by this transition and the fact that the fertile lands were won from the sea with water pump mills. Schlegel’s idea for the work came when she observed the Archimedes’ screw in action at a historic water pump mill. The name of the work “de lucht lezen”, or reading the sky, was borrowed from the answer of an experienced miller to the question what the most important skill for a good miller is; the ability to read the sky and thus make optimal use of the wind and prevent damage to the mill. The work references the historical use of windmills to reclaim the land from the sea, and the position of De Rijp as a former harbour with a sawmill. De lucht lezen evokes the most important quality of a traditional miller: the ability ‘to read the sky’, which attains new meanings in the context of climate change and rising sea levels – will De Rijp become a harbour once again? https://freight.cargo.site/t/original/i/J2729374868928865999190840454168/Website_de_lucht_lezen10.jpg https://freight.cargo.site/t/original/i/Q2729374868799738790674873592856/Website_de_lucht_lezen3.jpg https://freight.cargo.site/t/original/i/M2729374868818185534748583144472/Website_de_lucht_lezen4.jpg https://freight.cargo.site/t/original/i/A2729374868652164838085197179928/_99C1902_PS_17.jpg https://freight.cargo.site/t/original/i/V2729374868947312743264550005784/Website_de_lucht_lezen11.jpg https://freight.cargo.site/t/original/i/Q2729374868873525766969711799320/Website_de_lucht_lezen7.jpg https://freight.cargo.site/t/original/i/H2729374868707505070306325834776/_99C2014_PS_15.jpg https://freight.cargo.site/t/original/i/X2729374868965759487338259557400/Website_de_lucht_lezen12.jpg https://freight.cargo.site/t/original/i/Z2729374868689058326232616283160/_99C2011_16.jpg https://freight.cargo.site/t/original/i/S2729374868984206231411969109016/Website_de_lucht_lezen13.jpg __________ de lucht lezen https://freight.cargo.site/t/original/i/H2729374868744398558453744938008/_99C2079_18.jpg https://freight.cargo.site/t/original/i/H2729374868762845302527454489624/_99C2094_PS_19.jpg https://freight.cargo.site/t/original/i/F2729374868910419255117130902552/Website_de_lucht_lezen9.jpg https://freight.cargo.site/t/original/i/G2729374868836632278822292696088/Website_de_lucht_lezen5.jpg https://freight.cargo.site/t/original/i/O2729374868891972511043421350936/Website_de_lucht_lezen8.jpg https://freight.cargo.site/t/original/i/P2729374868781292046601164041240/Website_de_lucht_lezen2.jpg https://freight.cargo.site/t/original/i/W2729374868725951814380035386392/_99C2059_PS_14.jpg https://freight.cargo.site/t/original/i/E2729374868855079022896002247704/Website_de_lucht_lezen6.jpg https://freight.cargo.site/t/original/i/K2729374868670611582158906731544/_99C1905_PS_1.jpg Realization 2020-2022, implementing a wooden structure inspired by the Archimedean screw resembling a peacock (approx. 4,40 m x 3,50 m x 4,80 m, accompanied by two mirror objects), atop a small hill in a park-like setting. Permanent work in public space. Commissioned by the municipality of Alkmaar, the Netherlands. De Pauw, (English: The Peacock) is the name of a newly built residential area in the village De Rijp which took its name from a historic wind-sawmill that once stood in the same area. This sawmill supplied wood to the village De Rijp when it still had an open connection to the North sea and was a thriving harbour. When the wetlands around De Rijp were turned into polders by building dikes around it and pumping out the water with water pump mills, the village lost its function as a sea harbour and out of necessity transitioned into a society of agriculture and horticulture. The work “de lucht lezen” was inspired by this transition and the fact that the fertile lands were won from the sea with water pump mills. Schlegel’s idea for the work came when she observed the Archimedes’ screw in action at a historic water pump mill. The name of the work “de lucht lezen”, or reading the sky, was borrowed from the answer of an experienced miller to the question what the most important skill for a good miller is; the ability to read the sky and thus make optimal use of the wind and prevent damage to the mill. The work references the historical use of windmills to reclaim the land from the sea, and the position of De Rijp as a former harbour with a sawmill. De lucht lezen evokes the most important quality of a traditional miller: the ability ‘to read the sky’, which attains new meanings in the context of climate change and rising sea levels – will De Rijp become a harbour once again? https://preflight.kathrinschlegel.com/wat-verbeelden-wij-ons 2026-01-17T10:15:10+00:00 always 0.5 https://freight.cargo.site/t/original/i/F2729308855244503125526041472024/Website_wat-verbeelden-wij-ons-1.1.jpg https://freight.cargo.site/t/original/i/T2729308855262949869599751023640/Website_wat-verbeelden-wij-ons-12.jpg https://freight.cargo.site/t/original/i/T2729308855170716149231203265560/_99C3661crop.jpg This project was made possible with the kind support from Stichting Stokroos and the Mondriaan fund. https://freight.cargo.site/t/original/i/E2729308855152269405157493713944/_99C3572small.jpg Realization 2024, insertion of a monumental wood carving (145 x 200 x 15 cm), inspired by an 18th-century aureola or halo, in the Belmonte Arboretum, Wageningen, the Netherlands. An arboretum is not simply a living collection of trees and shrubs with stories about the collection of knowledge regarding nature plants and trees; it is also a symbol of colonial exploitation. For the 12th edition of Beelden op de Berg (summer 2024), entitled Heksenkruid – decolonising botany ( Witchweed – decolonising botany) Kathrin Schlegel delved into historical images of and texts about the Wageningense Berg. She was moved by its rich nature, by the Holleweg and its significance as a trade route, by legends about matriarchal cultures, priestesses, a sanctuary and the remains of a Christian chapel. Christianity has contributed to a worldview in which humankind stands above nature. She developed a monumental wood carving in the form of an aureola or sunburst. The design was inspired by 18th-century halos that adorn the bodies or heads of saintly figures in churches and illustrious private collections. In contrast to Christian iconography, however, the artist omits the human figure and let the work frame a branch high up in a tree – in order to declare nature itself ‘sacred’, as it were. Through the work Wat verbeelden wij ons (which can be loosely understood as ‘How do we imagine the future?’, or, as Dutch biologist and philosopher Matthijs Schouten asks “who do we think we are?”, Kathrin Schlegel intends to challenge the notion of ‘mankind’ considering itself to be ‘the crowning glory of creation’ in Western and Christian thought. Both form and text harbour an invitation to contemplate and reconsider humankind’s position in the world and to move away from the devastating idea of ruling exception towards equal and reciprocal relatedness. The work appeals to the patriarchal Christian ego in which some humans see themselves as superior creatures, positioned high above the realm of nature. The artist was triggered by the idea of an imaginary "interzijn" (interbeing), a mutual and complementary rapprochement between nature, culture, form and content. Installed on age-old trees close to the Holleweg, the work creates a place of tranquillity where it could be felt how various cultures and religions have used this road to the Rhine river as a key North-South trade route and a shallow river crossing, from Roman times and early Christianity until deep into the Middle Ages, and how relations between humans and nature have developed over time, affected by various (religious) influences. https://freight.cargo.site/t/original/i/X2729308855281396613673460575256/Website_wat-verbeelden-wij-ons-13.jpg https://freight.cargo.site/t/original/i/E2729308855207609637378622368792/Sokroos_MF.png https://freight.cargo.site/t/original/i/Z2729312874863823763132176804888/prt_1045x1600_1721651751.jpg Realization 2024, insertion of a monumental wood carving (145 x 200 x 15 cm), inspired by an 18th-century aureola or halo, in the Belmonte Arboretum, Wageningen, the Netherlands. An arboretum is not simply a living collection of trees and shrubs with stories about the collection of knowledge regarding nature plants and trees; it is also a symbol of colonial exploitation. For the 12th edition of Beelden op de Berg (summer 2024), entitled Heksenkruid – decolonising botany ( Witchweed – decolonising botany) Kathrin Schlegel delved into historical images of and texts about the Wageningense Berg. She was moved by its rich nature, by the Holleweg and its significance as a trade route, by legends about matriarchal cultures, priestesses, a sanctuary and the remains of a Christian chapel. Christianity has contributed to a worldview in which humankind stands above nature. She developed a monumental wood carving in the form of an aureola or sunburst. The design was inspired by 18th-century halos that adorn the bodies or heads of saintly figures in churches and illustrious private collections. In contrast to Christian iconography, however, the artist omits the human figure and let the work frame a branch high up in a tree – in order to declare nature itself ‘sacred’, as it were. Through the work Wat verbeelden wij ons (which can be loosely understood as ‘How do we imagine the future?’, or, as Dutch biologist and philosopher Matthijs Schouten asks “who do we think we are?”, Kathrin Schlegel intends to challenge the notion of ‘mankind’ considering itself to be ‘the crowning glory of creation’ in Western and Christian thought. Both form and text harbour an invitation to contemplate and reconsider humankind’s position in the world and to move away from the devastating idea of ruling exception towards equal and reciprocal relatedness. The work appeals to the patriarchal Christian ego in which some humans see themselves as superior creatures, positioned high above the realm of nature. The artist was triggered by the idea of an imaginary "interzijn" (interbeing), a mutual and complementary rapprochement between nature, culture, form and content. Installed on age-old trees close to the Holleweg, the work creates a place of tranquillity where it could be felt how various cultures and religions have used this road to the Rhine river as a key North-South trade route and a shallow river crossing, from Roman times and early Christianity until deep into the Middle Ages, and how relations between humans and nature have developed over time, affected by various (religious) influences. https://preflight.kathrinschlegel.com/vessel-to-flesh 2026-01-05T13:38:16+00:00 always 0.5 https://freight.cargo.site/t/original/i/A2729312875177418412385239182360/prt_1920x1440_1721577210.jpg Realization 2023 - 2024, transformation of an orphaned silver chalice (vessel) into a contemporary sculpture (12 x 16 x 15 cm) of a Doubting Thomas. Doubt, alongside curiosity, can be considered the core of science. It is an iconic biblical moment. Thomas puts his finger into Christ’s side to feel if the wound is real. He wants to see evidence that the man standing before him really has risen from the dead. In art this subject, formally termed The Incredulity of Saint Thomas, has been common since at least the early 6th century. In the context of Christianity, the apostle Thomas is often cited as the epitome of a sceptic who refuses to believe in the resurrection of Christ until he has proof by experiment. Objects of importance to the conduct of the liturgy, according to the Catholic Church, cannot be stripped of their religious status and should be destroyed if they no longer have a religious purpose or function. The artist transformed a disused, orphaned and roaming chalice into a new, contemporary image of Saint Thomas - by melting it down and giving the material a new life as a sculpture with religious significance. The finger that touches the side wound spawns a sprout that literally emerges from doubt and figuratively makes a connection between the origin of life and the growth of knowledge and science. The young shoot invites one to reconsider man’s position in the world and to critically re-examine the worldview in which part of humanity thinks itself to be “the crown of creation”. By extension, the artist touches on the societal discourse on binary gender division and gender inequality that are partly motivated by a centuries-old patriarchal-oriented image of God. The image not only embodies doubt, but simultaneously sows doubt about issues that are assumed to be (un)true in the present. https://freight.cargo.site/t/original/i/L2729331193753514297802890554392/_99C3539PS_o.jpg <div style="text-align: left;">Exhibition view, in combination with The Incredulity of Thomas, Hendrick ter Brugghen, c. 1622, Collection Rijksmuseum Amsterdam. De Schepping van de Wetenschap/ The Creation of Science (from 22 February to 2 June 2024) in Museum Catharijneconvent, Utrecht. __________ Vessel to flesh</div> https://freight.cargo.site/t/original/i/H2729331193716620809655471451160/_99C2751_PS.jpg Realization 2023 - 2024, transformation of an orphaned silver chalice (vessel) into a contemporary sculpture (12 x 16 x 15 cm) of a Doubting Thomas. Doubt, alongside curiosity, can be considered the core of science. It is an iconic biblical moment. Thomas puts his finger into Christ’s side to feel if the wound is real. He wants to see evidence that the man standing before him really has risen from the dead. In art this subject, formally termed The Incredulity of Saint Thomas, has been common since at least the early 6th century. In the context of Christianity, the apostle Thomas is often cited as the epitome of a sceptic who refuses to believe in the resurrection of Christ until he has proof by experiment. Objects of importance to the conduct of the liturgy, according to the Catholic Church, cannot be stripped of their religious status and should be destroyed if they no longer have a religious purpose or function. The artist transformed a disused, orphaned and roaming chalice into a new, contemporary image of Saint Thomas - by melting it down and giving the material a new life as a sculpture with religious significance. The finger that touches the side wound spawns a sprout that literally emerges from doubt and figuratively makes a connection between the origin of life and the growth of knowledge and science. The young shoot invites one to reconsider man’s position in the world and to critically re-examine the worldview in which part of humanity thinks itself to be “the crown of creation”. By extension, the artist touches on the societal discourse on binary gender division and gender inequality that are partly motivated by a centuries-old patriarchal-oriented image of God. The image not only embodies doubt, but simultaneously sows doubt about issues that are assumed to be (un)true in the present. https://freight.cargo.site/t/original/i/Y2729331193735067553729181002776/_99C2757crop-website-_o.jpg https://freight.cargo.site/t/original/i/M2729331193771961041876600106008/Website_vessel-to-flesh-slide.jpg https://preflight.kathrinschlegel.com/cloth-1 2026-01-05T13:38:16+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2729312875195865156458948733976/prt_1929x1243_1693730322.jpg https://freight.cargo.site/t/original/i/U2729338227884411228802822319128/_99C2568.jpg https://freight.cargo.site/t/original/i/Z2729338227902857972876531870744/_99C2569.jpg https://freight.cargo.site/t/original/i/O2729338227995091693245079628824/IMG_0421_PS_7.jpg __________ Cloth https://freight.cargo.site/t/original/i/F2729338227976644949171370077208/IMG_0407_PS_6.jpg https://freight.cargo.site/t/original/i/J2729338227958198205097660525592/_99C2658.jpg https://freight.cargo.site/t/original/i/Z2729338227939751461023950973976/_99C2593.jpg https://freight.cargo.site/t/original/i/K2729338228013538437318789180440/IMG_1076.jpg https://preflight.kathrinschlegel.com/echo-of-there-are-worse-things-you-could-be-accused-of-than-being-a-flower 2026-01-05T13:38:16+00:00 always 0.5 https://freight.cargo.site/t/original/i/C2729312875122078180164110527512/prt_1771x1436_1635592709.jpg 2021, video installation, projection 8 m x 7 m, in dialog with a glass Venetian chandelier, diameter 178 cm x 200 cm height, glass plate 150 cm x 250 cm, water daily taken from the river nearby connecting to bronze artwork As part of the exhibition Mirror | Mirror Kathrin Schlegel has developed a museal translation and interpretation of the public artwork <a href="there-are-worse-things-you-could-be-accused-of-than-being-a-flower" rel="history">There Are Worse Things You Could Be Accused of Than Being A Flower</a>. The public artwork is located under a railway viaduct across the Eem close to the museum. A decade ago, Schlegel positioned a polished bronze sculpture in the shape of a Venetian chandelier there so as to transform the somewhat uncanny underpass into an entrance hall from the ‘old’ to the ‘new’ city. Inspired by the myth of Narcissus, the chandelier features withering daffodils rather than traditional roses. The translation to the museum space follows sun rays reflecting on the river that make the chandelier glisten from time to time. The artist has captured this unique interplay in a video which is being projected onto a chandelier from glass. This chandelier has been made in Murano and served as model for the bronze chandelier in public space. A glass plate on the floor reflects both the glass object and the fleeting video images. Every day a small amount of water is taken from the Eem and poured onto the glass plate. Once the water has dried up, circular stains appear, traces of what was and no longer is. Alluding to the story of Echo and Narcissus this work reflects on themes such as intangibility and transience. At the same time this composition of light and shadow, of being and appearance, poses questions about the relationship between ‘original’ and ‘copy’. https://freight.cargo.site/t/original/i/D2729345721966424893676714077208/_99C6910_PS_layeredModCropDEF.jpg 2021, video installation, projection 8 m x 7 m, in dialog with a glass Venetian chandelier, diameter 178 cm x 200 cm height, glass plate 150 cm x 250 cm, water daily taken from the river nearby connecting to bronze artwork As part of the exhibition Mirror | Mirror Kathrin Schlegel has developed a museal translation and interpretation of the public artwork <a href="there-are-worse-things-you-could-be-accused-of-than-being-a-flower" rel="history">There Are Worse Things You Could Be Accused of Than Being A Flower</a>. The public artwork is located under a railway viaduct across the Eem close to the museum. A decade ago, Schlegel positioned a polished bronze sculpture in the shape of a Venetian chandelier there so as to transform the somewhat uncanny underpass into an entrance hall from the ‘old’ to the ‘new’ city. Inspired by the myth of Narcissus, the chandelier features withering daffodils rather than traditional roses. The translation to the museum space follows sun rays reflecting on the river that make the chandelier glisten from time to time. The artist has captured this unique interplay in a video which is being projected onto a chandelier from glass. This chandelier has been made in Murano and served as model for the bronze chandelier in public space. A glass plate on the floor reflects both the glass object and the fleeting video images. Every day a small amount of water is taken from the Eem and poured onto the glass plate. Once the water has dried up, circular stains appear, traces of what was and no longer is. Alluding to the story of Echo and Narcissus this work reflects on themes such as intangibility and transience. At the same time this composition of light and shadow, of being and appearance, poses questions about the relationship between ‘original’ and ‘copy’. https://freight.cargo.site/t/original/i/D2729345721984871637750423628824/Peter-Cox_20210216-33-wesbite.jpg __________ Echo of There Are Worse Things You Could Be Accused of Than Being A Flower https://freight.cargo.site/t/original/i/L2729353218188260871100913822744/iPhone4.webm https://preflight.kathrinschlegel.com/there-are-worse-things-you-could-be-accused-of-than-being-a-flower 2026-01-05T13:38:16+00:00 always 0.5 https://freight.cargo.site/t/original/i/L2729312874531782369805404875800/prt_634x357_1477491810.gif 2010, redefining a non-space under a railway viaduct by implementing a Venetian chandelier cast in bronze, diameter 178 cm x 200 cm height. Permanent work in public space commissioned by the municipality of Amersfoort With There are Worse Things You Could Be Accused of Than Being a Flower Kathrin Schlegel redefined and upgraded a fairly grim non-place under a railway viaduct as entrance hall and transition from the ‘old’ to the ‘new’ city by introducing a surprising, alien element to the scene. For this place, which serves as a hangout spot for local youth, Schlegel used the classical theme of Narcissus as an inspiration. She commissioned the Seguso glass factory to produce a magnificent Venetian chandelier based on an eighteenth-century model, using daffodils, the botanical name for daffodil is narcissus, instead of the traditional decoration of roses. The De Smelterij foundry transformed the chandelier into a polished bronze sculpture. Once placed under the bridge, the bronze daffodils, just past the peak of their bloom, stare vainly into the reflecting water surface below, as an ode to transience, craftsmanship and vanity. https://freight.cargo.site/t/original/i/U2729366616169162070790509833240/theareworstthings_insert1.jpg https://freight.cargo.site/t/original/i/C2729366616206055558937928936472/theareworstthings_mainimage1.jpg 2010, redefining a non-space under a railway viaduct by implementing a Venetian chandelier cast in bronze, diameter 178 cm x 200 cm height. Permanent work in public space commissioned by the municipality of Amersfoort With There are Worse Things You Could Be Accused of Than Being a Flower Kathrin Schlegel redefined and upgraded a fairly grim non-place under a railway viaduct as entrance hall and transition from the ‘old’ to the ‘new’ city by introducing a surprising, alien element to the scene. For this place, which serves as a hangout spot for local youth, Schlegel used the classical theme of Narcissus as an inspiration. She commissioned the Seguso glass factory to produce a magnificent Venetian chandelier based on an eighteenth-century model, using daffodils, the botanical name for daffodil is narcissus, instead of the traditional decoration of roses. The De Smelterij foundry transformed the chandelier into a polished bronze sculpture. Once placed under the bridge, the bronze daffodils, just past the peak of their bloom, stare vainly into the reflecting water surface below, as an ode to transience, craftsmanship and vanity. https://freight.cargo.site/t/original/i/E2729366616187608814864219384856/theareworstthings_insert2.jpg https://freight.cargo.site/t/original/i/E2729366616242949047085348039704/theareworstthings_mainimage3.jpg __________ There are Worse Things You Could Be Accused of Than Being a Flower https://freight.cargo.site/t/original/i/H2729366616224502303011638488088/theareworstthings_mainimage2.jpg