Success is still relatively new to thirty-nine-year-old Dorothee Golz. Things really began to happen for her in 1997, when Catherine David invited the artist to exhibit in Documenta X (where she showed Hohlwelt, 1996, a large, transparent plastic bubble). Two years down the road, Udo Kittelmann, director of the Kölnischer Kunstverein, is mounting Golz's first big solo. The exhibition brings together fifty drawings (in which the utopian and the everyday are united in humorous—and often unsettling—shapes) and three large sculptures, whose formal vocabulary borrows freely from '50s furniture design no less than from the futuristic vocabulary of sci-fi illustration.

— Yilmaz Dziewior