Anne Schneider

Christine König Galerie

Severed doll heads with distorted faces—those were the first works I ever saw by the young Austrian artist Anne Schneider. Turned inside out, their eyes, noses, and mouths had been deformed into uncanny caves. At the time, it struck me as an act of brute force. But Schneider’s current solo exhibition makes it dear that these were not objects of destruction but rather sculptures of a strange, cavelike architectural utopia. While the openings in the face previously functioned as enlarged entrances into organic buildings, Schneider now focuses on the world beyond the entrance, designing curious little rooms—dwelling places within the folds.

On view here were thirteen small works, each titled Architekturmodell (Architectural model), 1999–2000—impressions that Schneider had made by pressing wax against a knee, an arm, or an elbow, and then folding. The surfaces of the body have made only faint

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