Kö corona Düsseldorf 2013

Kö.Korona

New building Trinkhaus Bank, Königsallee 19, Düsseldorf

• Aluminum laser cut, anodized, LED backlighting
• approx. 900 x 450 cm
• brokered by KunstRaum Konzepte, Bonn

It is an installation intervention in the form of an expansive wall drawing on the entire right side of the entrance at Kö 19. It also incorporates the travertine vestibule in the outdoor area.

The "drawing" consists of organically overlapping, color-anodized aluminum circles that form various intersections, appear to rise upwards, and create a play of shadows. Formally, the work is abstract, but as in other works, I start with a controlled element of chance and use everyday objects to determine the form. In this case, I scanned rubber bands, scaled them, and composed them precisely for this location.

It is important to me that the work is organic and therefore appears alive, like a cell structure in the microcosm or celestial bodies in the macrocosm. The circular elements were anodized blue, fitted with LEDs on the back, and mounted at a distance from the wall. During the day, the changing daylight will make the matte-glossy anodized aluminum appear very elegant and create a play of shadows on the wall. At dusk or on very dark days, the LED lighting switches on automatically. The color of the circles recedes and is backlit by the luminous corona.
Hence the title of the work: Kö.Korona.
Korona is Latin for crown (fitting for Königsallee), wreath, court, and luminous phenomenon. The nocturnal work could also be reminiscent of a solar corona.

The distance to the wall is chosen so that the circles appear to float in front of it, creating the exact opposite effect to the shadows cast during the day.

Associatively, the bronze figure of the ball player by Walter Schott from 1897, located in the flower garden to the north on the Königsallee (Kö), could have set the ball rolling. In the entrance of Kö 19, the circles form an airy, ascending cluster, which can also symbolize the concentration of the numerous shops and office buildings on the Kö, forming an intersection there.

The work appears light, and the circles seem to float upwards in a positive direction, an effect enhanced by the arrangement, the material, and the changing daylight.

Heike Weber 2013