Für Lucille Wittgenstein, die Könign der Nacht Painting

Amy Hany studied Communication-Design at Merz Akademie Stuttgart and studied Performance at the Staatliche Akademie der Bildenden Künste, Stuttgart (this Study stayed unfinished) If the world, or life, is seen as an optical instrument, eventually we might find a position from which the works of Artist Amy Hany are looking at us. Upon seeing her art, many different feelings arise. But are they still the same if we name them? What's still real if we want to feel them? Do we get an answer to her pictures of women? Are these women stared at, desired, manipulated? Are they the artists and we the objects? Her artworks are letters: with addressee, for now, unknown. Are we the adressees? Are we allowed to read them? Is the content already written or are we the content? At first glance, we seem to know what her pictures and videos are showing, how she sees her women's world, how potentially broken her conviction is, how fathomless, psychotic, destructive, sexualised below the pretty, folkloristic surface. Or are we the subject, our illusion is experienced through the mirror of her pictures? The diversity of artworks come together to form an ornament, in which colours become an instrument, a weapon. An ornament of sense perception. We'd like to be reminded of the "neuen Wilden" (New Wilds), which is made easy for us. The art's directness leaves us the task of absorption. We get into a relation of vagueness. The pictures and thoughts that appear while watching are snowflakes. Beautiful, white, cold, crystal sharp. Telling stories? Is that what art is? Or discovering stories, in there, between me, mirror and picture? Here lies the "point de vie", the "point de vue". It is all in all a strong snowfall (a heavy snow flurry of interpretations), that we can watch from the warmth of a heated room, or... The longing for solace is extensive, says Haus Blumenberg.