Natalia Stachons works cannot and do not deny their relationship to early modern or Minimalist Art because they deal with the sculptural development of space as a sensation, as a limimal space and as atmospheric volume. Her sculptural spatial compositions can be grasped immediately, if you imagine a tactile, geometrically constructed plastic volume that has been fused by its opposite, which is a limitless luminosity, i.e. an intangible light, into the density of a medium without materiality, as the editor Renate Wiehager describes it. Accordingly, the work of Natalia Stachon, born in Katowice, Poland in 1976 and now resident in Berlin, is based on a precise analysis of the spatial structures and sculptural minimalisations of the abstract avant-garde, from the visionary spatial concepts of Russian and Polish avant-gardes of the 1920s via Concrete Art all the way to Minimal Art. However, she has transformed the sculptural settings and standard works of these forerunners into open spatial constellations with architectural dimensions. She allows transparent materials, which guide the direction of view, and three-dimensional bodies in a combination with language, drawing and sculpture to become spiritual, ephemeral volumes. Walter Benjamin coined the term »dialectical image« for such a transformation, where the past is interwoven with the present. Natalia Stachon has also teased out utmost transparency as a design feature in this book. She chose to use India paper for the illustration section in order to facilitate the interpenetration of images and their corresponding ideas by Robert Morris, Carl Andre, Gordon Matta-Clark, Adam Caruso, John Hejduck, Robert Graves, Maurice Blanchot and Nickel van Duijvenboden.
With texts by Renate Wiehager and Christian Ganzenberg.