Susanna Fritscher presents her new exhibition in the Patio of the Museum of Nantes where she reimagines a new space in which the visitor interacts with the surroundings thanks to the materials and the work of MEREFSA
Susanna Fritscher is an Austrian plastic artist who has earned the nickname of "the white lady" due to her minimal use of color. Her work aims to renew the perception of spaces through works that subtly interact with architecture. It invests in spaces and creates labyrinths of immaculate and austere rooms inhabited by glass panels, plexiglas and white film that explore the border between the material and the immaterial.
When the Nantes Art Museum thought of someone to reimagine such a representative space as the Patio for the institution, they instantly thought of Susanna Fritscher. Through minimal and aerial interventions, the artist seeks the discovery or rediscovery by the visitor of the identity of the museums main space. Here, architecture and light offer an immersive framework in which the relationship with the spectator constitutes an element of tension.
The point where MEREFSA intervenes. Susanna Fritscher searched for the best materials and the best professionals so she contacted us through our French portal (www.merefsa.fr). She needed hundreds of kilometers of very thin silicone cord of platinum quality, the most translucent and of the highest quality. Our professionals worked to fulfill the task: the cord needed to be oval, not round, in order to give the effect of movement desired by "the white lady." The tools were taylor-made, as usual, and they were recalibrated until the results were optimal. The quality control was the most demanding since the profile was so small that the difficulty of all the sections to retain a regular shape was enormous.
However, the greatest effort, aside of the design of the tooling and the fact that the extrusion had to be within the established tolerances, was its packing and transportation. Susanna Fritscher entrusted us with a considerable amount of platinum silicone in the form of a 400-km thread, and our operators spent hours and hours untangling and winding the thread in manageable 3,000-meter stretches.
The result? The exhibition Aire, luz y tiempo, a work of art of which we were very proud of having the chance to take part in and contribute with our knowledge in the materials.