Tatjana Busch - Frequencies, 2020 | acrylic glas, stainless steel, black light | © EVI LICHTUNGEN Photographer Sara Foerster
Mirrored stainless steel plates on the floor above the grave plates in the chapel form the basis for the fluorescent structures. The installation works both during the day with sunlight and in the evening with UV light. The gothic windows of the chapel, the architecture and the objects are reflected in the floor and distort the view of the observers. The installation plays with the tension between scientifically defined elements of physics, between the generally defined, conditioned and the subjective perception of the viewer, the world of the emotional, the irrational and the mystical.
Tatjana Busch (*1962) is an artist living in Munich who has been staging installations in public space since 1996. In the beginning, Tatjana Busch starts with a crumpled sketch. In its apparent worthlessness she discovers the potential for form. At the beginning of her career, she mounted crumpled papers on flat image carriers, later she transferred the principle into space. Busch focused on the picture carrier itself, painted aluminium plates with acrylic paint or car paint and created three-dimensional objects by bending and folding the material many times. These are works of art that reinvent themselves again and again, depending on what surrounds them and who is facing them.Tatjana Busch's works can be seen in the USA, at the Venice Biennale and in France. Her work has received numerous awards and is represented in the Sal Oppenheim/Deutsche Bank Collection, the J.H. Simons Foundation New York, and other collections.
In the middle of the cloister garden of the Hildesheim Cathedral rises the St. Anna Chapel. In 1321 Bishop Otto II (1319-1331) commissioned the construction of a small, purely Gothic chapel for St. Anna, Mother of God, in the cloister of the Annen cemetery. This is the first Gothic building in Hildesheim. Its new glazing was made in 1890 under the direction of Baurat Cuno.