The triangular panels, which play such a decisive role in Raphaela Vogel’s paintings, correspond not only to the female pubis as a central projection surface in Western imagery, but also to tripartite conceptual frameworks. The invention of triolectics and the three-team football game — which the Danish Situationist Asger Jorn had already launched in the 1950s and which is important to Vogel—suggests that the relevant constellations of our lives, our thinking and politics do not involve bipolar situations. There are three enemies to the organisation, planning and shaping of a successful petty-bourgeois family life: the dead parts of the garden’s vegetation, particularly the trees and larger bushes; then sugar, ever so tempting yet persistently undermining the health of children in particular; and above all, the mould that repeatedly threatens the walls, cupboards and cellars of the family home. The indestructible dampness of life. Alongside painting, however, „Zucker * Totholz * Schimmel“ (Sugar * Deadwood * Mould) focuses on the problems of the sculpture. By definition, these are heavy and must support themselves or be supported. Three nymphs by the wilhelmic sculptor Walter Schott, whose unquestioning loyalty to the emperor (at a time of three-way Entente alliances – since 1907: France, England and Russia) proved fatal to his career, cannot therefore fully surrender to the natural lightness of their dancing talent, but require (aggressively curved) walking aids, because dealing with gravity is no longer second nature to them. It was not only life’s cosmetic surgeries that were too exhausting. But they do not yet need the walking aids at this moment; they use them as weapons in a three-way battle for the truth. The drooping inverted question mark already contains the answer to all questions in its title: „Musst Du sagen!“ Or, in North German:„Immer der, der fragt.“ Needless to say, they can only sustain their walking aid dance through a trio; the centrifugal force would strike mercilessly with two or four nymphs.
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