2024

auf Anfrage zugänglich

Wilhelm-Hausenstein-Gymnasium, Fideliostraße 141-145, 81927 München

Lindenholz geschnitzt, insgesamt 45 Quadratmeter, 74 Äste mit diversen geschnitzten Objekten

Architecture: HASCHER JEHLE Architektur, Berlin & Köhler Architekten + Beratende Ingenieure, Gauting

Landscape architecture: ver.de landschaftsarchitekten, München

Photos: Studio Olaf Becker

Text: Dr. Eva-Marina Froitzheim

Gabriela Oberkofler’s earth art installation, “Amöbe” (Amoeba), is nestled in an elliptical ceiling recess through which light streams into the entrance hall of the Wilhelm-Hausenstein-Gymnasium. Widely ramified branches hang upside down, filling the entire space. Carved natural elements—flora, including flowers and pine cones as well animals like birds, pig heads and snails—are grafted onto the tips of the sturdier branches, fusing with them to form a single unit.

For acoustic reasons, the surrounding wall of the dome-like ceiling opening is perforated with holes of various sizes. The irregular structure complements Oberkofler’s installation, which resembles an abstract interplay of lines. This phenomenon can only be discovered by those who attentively and curiously allow their gaze to glide over the walls that swing in and out up to the ceiling. The natural forms of the branches, the artistically designed sculptural structures and the architecture—as an expression of human creativity and technical skills—enter a dialog that occurs solely via the viewer’s individual perception and movement.

The branches in the work come from trees in a near-by park that were felled to make way for the high school’s construction. While the project was in its early stage, a serious exchange with the surrounding residents about the integration of the school building into this natural space took place. Foregoing any judgements, Oberkofler positioned the theme of removing nature to create living and educational spaces for the next generation at the center of her concept for the high school.

With her installation, the artist combines an aspect of reconciliation. By incorporating the branches of the felled trees in her work, she extends their existence, albeit in a different state: in this case as a work of art. This approach underlines Oberkofler’s respect for the trees, which she understands as living beings that—as part of a transformation process—also includes people. Trees represent growth, the exchange of gases and oxygen. They are suppliers of raw materials, as well as bearers of their own beauty.

Oberkofler’s works are an expression of her exploration pf the relationship between humans and nature. The artist highlights the special properties of nature, as well as its use by humans. In this art in public space project, the redesigned branches assert themselves as art objects in the midst of the social interaction of a growing generation that will help shape the future of our society.