Each room is a passage room — a room where you can not stop him pass undisturbed yet unobtrusive. Wieser used the characteristics of the space situation accurately and developed a work that allows the visitor a new perspective on the known premises. Her work changed the entire interior architecture as well as our perception of it fundamentally.

Like a ramp that rises slowly and behind the ridge steep drops, describing with long wooden boards and a rib-like substructure a kind of large triangle was created that seems to negate the architecture of the rooms and also caress the other. The places where the architectural and at the same time object-like plant touches the building, are most exciting for the artist.

So clearly and accurately, almost loose and confident is this mighty work, so consuming and complex is the planning that precedes the same. Katharina Anna Wieser has got hold of their work in the best sense of the spaces, she has surveyed, senses the characteristics of floor, wall and ceiling construction and built an architectural structure that enables us by entering the work to get primarily closer to the room. This space experience is made by visitors on a unassuming yet inescapable way: If you want to see the work, you have to not only enter, but tread and commit. We must rely on the construction; instead of a showroom that is usual easy to traverse, we are encouraged to put each step consciously and focused — the slope requires it.

The exhbition was generously supported by the partners of the Kunsthaus Baselland: kulturelles.ch, Gemeinde Muttenz, werner sutter AG as well as by the Fondation Roldenfund, Ernst und Olga-Hablützel-Stiftung and the Fondation Stiftung Edith Maryon.

Parallel zur Einzelausstellung von Katharina Anna Wieser waren jene von Oliver Minder und Jan Hostettler im Kunsthaus Baselland zu sehen.