Korpys / Loeffler and Achim Bitter; Kuenstlerhaus Bremen. 2000.The project that I would like to discuss was conceived by three artists as a collaborative project, Korpys / Löffler and Achim Bitter (Korpys / Löffler always work together as a rule). They filled the exhibition space with all sorts of objects they had found in the storage spaces, or even still being used by the art institutions, galleries, and museums of Bremen. These objects included desks, boards, doors, large carpets, and leftovers from installations such as maps, large gray pieces of material, and parts of multiples. Several of the pieces could only be identified upon closer examination, when the surfaces were very distinctive. The installation was divided into two parts, following the preexisting structure. The partition wall consisted of doors and boards jammed between the floor and ceiling; a passageway remained clear. As with bulky trash items waiting to be hauled away, the dominant color was light brown. The possibility of altering the space oneself hung in the air. The public reacted with reserve at first, almost muted, as is the case at many exhibition openings. Then, within a few seconds, during which a wave of relaxation palpably ran through the room, people began to enter the grandstand and use it. The atmosphere changed, became relaxed and stimulated at the same time, and a party-like atmosphere developed. The public was visibly adjusting to the space. This moment of self-empowerment and appropriation was stirring. It happened through a change in the status of the sculpture, which subtly revealed the place to which auratic, autonomous works of art normally banish the viewer. At the same time the “sculpture” was a feast for the eyes: the delicate shadings of brown, pink, and bright green, the vertical and horizontal rhythm of light and dark lines and planes.