Hannah Liebig (*2004 in Berlin) works with a composition of material, body and space.
In her textile-based practice, she places the female-read body at the center of her investigation. She examines how bodies are produced, regulated and encoded through material, symbolic and spatial structures.
Her work gives rise to hybrid forms that explore the distinctions between surface and substance, softness and hardness, intimacy and publicness.
Color and texture function not only as aesthetic categories, but as semantic markers of corporeality, presence and fragmentation.
Deforming into a
symbiosis
of interspecies
connection,
she abandons parts of her human form.
The composed movement cannot be traced back to its origin, yet it appears to stem from the figure itself.
It moves continuously; fluid, autonomous, unrestrained, while constantly generating new configurations between itself and the bodies around. Through movement, the body seems to detach itself from a static state of embodiment and the boundaries that come with it.
Who determines whom?
Does the space shape the sculpture or does the sculpture shape the space.
The visitor moves within this ever-shifting dynamic, becoming part of the question itself.
The figure reclaims agency over the composition of its own movement,
continuously negotiating its position, its surroundings, and the bodies it encounters.
Movement therefore becomes not only a quality of the figure,
but a mode of relation; between body and space, sculpture and visitor,
autonomy and interdependence.
The blanket is too hard and too cold
to provide warmth and comfort.
Sixty bodies are crammed into small spaces,
not one trying to break through.
They are all neatly secured next to eachother.
Despite the discomfort,
the bodies move in
their own ascribed and secure space;
despite the discomfort,
you still feel the warmth of a blanket.
fallendeliegendestehendeträumende
Two bodies are lying there, sleeping.
They are in their own space without
contacting the viewer.
One of them is turned away, securely shielded.
The other one, legs wide open, their most intimate and private parts
completely surrendered to the viewer's gaze.
Feeling the desire to touch, the viewer is put in the uncomfortable position
of overstepping the boundaries of this body.
While being put into a predatory position, the viewer is supposed to start
questioning their own view on female
bodies.
