The site-specific works of Schirin Kretschmann impress with their presence. In her “installation paintings,” for example, she sifts large areas of luminous pigment over degraded architectural elements or places colored ice cream in the exhibition space, which subtly blends with the surroundings in the process of melting and drying. The processual character of each work develops mostly after the supposed completion.

In the Studioraum the artist realizes a work with black dubbin. As a synaesthetic experience, this intervention is constituted by the tension between the material’s properties and the specificity of the exhibition space.