Text:

Christoph Korn

In Anne Wissmann's work the animal appears at first glance as a sculpture.

If one lingered longer and can be attributed to the almost cinematic atmosphere emanating from these insisting und unwavering figures, one

gets the impression that something much more general is about creatureliness or even essence.

A sculptural motive, for example, is the duplication, or vice versa: the limitation of anatomical limbs. As the bodies of the animals have

several heads, the sensitivity, vitality, or even suffering capacity of those beings appears to be multiplied.

In other sculptures the head of animals is taken. They can receive heat, cold or mechanical stimuli, but they can not integrate them into a

"cognitive" process, as we would call it.

But always these beings seem strangely autonomous, as if encircled, and emitting a uniform, calm white noise. They seem to be self-centered,

peaceful, humble, and quite present, simple, and present at this moment. These creatures, stoically and persistently self-contained, seem to rise

in their limitations, or better, by their limitations (or by their "adulterations" as in the equestrian statues): the question of the

deceased and the question after the uninjured, the premonition of the very thing that is in a history, which is how it is and how it was.