Lilian Kreutzberger

Lilian Kreutzberger insists that the large sculpture in her studio that looks so much like a giant skeleton bird’s head is actually an iron. It has been deconstructed; it seems to be melting and will serve as a three-dimensional projection surface for digital images in a larger installation. It also makes perfect sense. We’re in the final phase of digitisation, where developers are ironing out the last seams that might betray a transition from reality to the digital realm. A hologram of ABBA anyone? Soon enough, we no longer need any visual details in our physical surroundings: the world is rapidly becoming one big screen that will show us anything we want – or should want anyway. Kreutzberger’s works based on architectural decorations are essentially a symbol of their own obsolescence, with running glazes that testify of liquid modernity. Like it or not: nothing remains solid, not even ceramics