in limbo

Anselmo Fox is perhaps the artist who most radically puts us out of breath and, in return for a high degree of dissipation, emphasizes us physically. The breath stops and moves, ... The order gets out of joint and yet remains in the frame. The inscrutable is embedded in the transparent.¬ ... What is inside, what is outside, what constitutes introspection, perception and transparency is inextricably fused into each other. Distortions and reflections confront the intellect with illegibility. Raised out of it’s noermal context is the usual location for people in the room. As a plastic concept, a spatial reorganization is suggested. As pressure-modeled one could perhaps approximately describe the perceptual experience. Glass is transparent, glass is stretchable, squeezable, malleable in all imaginable modes. Only glimpses of the umbilical approach tube, through which the breath flowed when blowing in the glass, are still visible. The breath is absent, yet present, conserved, as it were in a space in between. The imprint or impression of a skull suggests the same ambivalence regarding the physical and the bodiless in a visual tactility. Important is the reversal of conditions. Because the breath, which normally flows through the interior of the skull, allowed, as it were counter-oriented and outsourced, a deformation of the skull as a fragmentary impression in the outer glass surface. Skull and bladder touch each other, disconnected is mutually exclusive. Glass is a medium of knowledge. Objects in the narrower sense are not involved in these philosophical tools. Think with a spin, think plastically, feel the power of modulation - that's the salt of life.

Sabine Arlitt out of floating cohesion, Speech on the occasion of the exhibition MehrSalz im Salzhaus Brugg Switzerland