Anina Brisolla

The small glass (the bride stripped bare...)" stands in the center of the room. A work that refers to Marcel Duchamp's 'Large Glass' in form, content and title.
It is both an object and a portrait at the same time: the wooden frame encloses a transparent acrylic glass pane on which a drawing is applied.
This is a graphic interpretation of a broken iPhone, applied with gold leaf and correction tape. The drawing depicts the inside of the smartphone, captured using X-ray technology and the cracked user interface. However, the iPhone is turned upside down.
We view the world through the device. It enables us to be in different places at the same time, virtual and real.
We are also viewed through it: Moving through the web, leaving a data trail and exposing ourselves, with our consent, but usually prefer not to know about it.
"the small glass (the bride stripped bare... )" thematizes this simultaneity in that the work is on the one hand a drawing ground and
simultaneously functions as a lens through which the viewer looks at the other works.
With this work, the artist involves the viewer in a sophisticated game of reciprocal relationships and creates a kind of climax within the exhibition.
a kind of climax within the exhibition.
Consisting of many small squares, circles and lines, the drawing is something like the architectural ground plan of an object-turned-walled garden that has become a natural habitat for large parts of society.
'Walled Gardens', which has become a natural habitat for large parts of society.
With this work and the references to Duchamp and his 'bachelor machine', Anina Brisolla comments not least on the male-dominated tech industry in an intelligent way and not without humor.