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Maria Loboda

<p>A kind of readymade: Debris, flotsam, stranded items on a beach. Maria Loboda occupies a strip on the banks of the Rhine to install a series of sculptures. Large enough to be seen from far, the objects range from staged driftwood and plastic junk to reproductions of classic outdoor sculptures. Arp, Miro, Brancusi or Koons, all strewn on a sandy shore as reproductions, in between the usual rubbish. Seemingly, all these immeasurably precious works drifted for a unknown amount of time in the river before washing ashore for equally unknown reasons. The sculptures in this «floated sculpture garden», as the artist puts it, are made of artificial materials like polyurethane and painted to resemble stone, bronze marble, or carved directly from wood. With time, the works will begin to show signs of damage and decay, getting bruised and scratched. The work is staged congregation of deliberate, precious forms, which rarely are allowed to leave the safety of transport crates and guarded exhibitions spaces, and for which great sums for insurance are paid to redeem a potential loss, and now have somehow been freed from their protective environment to roam the world on their own.<br /> </p><p>Language and translation of signs and meanings play an important part in Loboda&#39;s works. Through the deconstruction and reorganization of common forms and symbols, Maria Loboda has become a unique voice in what is described as <em>contemporary archaeology</em>. Using household items, consumer products, cultural relics or established artworks as a starting point, the sculptor transforms them into often minimalist, yet always highly narrative investigations.</p>

Audio Guide

Wschód, Galerie Thomas Schulte, Maisterravalbuena

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