Alexandra Ranner, short hair floating in the river, claiming her death

We confirm this by finding that the words seem to be pronounced as grunts, carraspeos, lamentations, and songs. We remain in one restless emotional and sonorous paisaje.

Commissariat from Piedad Solans, Reputation It is the name of Alexandra Ranner’s first solo exhibition (Osterhofen, Germany, 1967) in a Spanish museum. Half a century of works (paintings, photographs, videos and sculptures) implemented during the last three years (some of which were published in 2010 at the Oliva Arauna gallery in Madrid) offer a complete and complete journey through his artistic corpus that reflects the power of the stage and the scenic concept.

Maquetas on a reduced scale from which modern architecture is recreated. Outdoor scenarios equipped with simple and simple lighting. Minimally modified living spaces. Dormitories and lounges, domestic places that inspire intensity. Entrance doors and vents, ladders and sloping corridors. Visual illusions and emotional experiences.

Taking these fictitious spaces as a starting point, Ranner creates other new locations: scenic photos, front pages from where you can choose the models you want to represent. It is about enhancing the atmosphere and ecstasy of one of the buildings that has changed and is now being reconstructed under a different light and different perspectives.

The absence of narrative elements in these images brings us to the scenic worlds of dramatic theater and a confusion of objective presences: a sofa, a bedroom or a curtain. From the windows, presented as an interface to the outside world, we will offer lonely places: remains of shipwrecks, disasters, apocalyptic panoramas (Room VI2010) filled with ruined buildings that seem to represent the rough and rugged skin of a corroded and corrupted human (Schwarzes Haus2012, Fr Ruina I2018).

Let’s talk about videos. A short rope floats down the river de un canal sang a capella fragments of a cantata aria (BWV nº 82 by JS Bach). He looked up to the sky and said: “I left you alone / ¡Sleep you sleepless eyes / fall into sweet and peaceful rest!”.

That’s how they chant their impassive eyes, don’t they they ask for death where you live. In this work I’ve had enough (2005-2014), desacogedor and grotesque coexist as strategies of simulacrum. We are thinking about that too OPENl (2006), Reputation (2025) or Silencio (Mann) (2010).

In sculptural cases, positions and movements, the actor maintains body and gestural language, from which his language turns into an empty, rhetorical action. Between pleasure and restBetween maximum tension and sleepiness, this male figure seems to face the solitude of his silence and seek some external discomfort that we do not suffer. And remember this silence from the menacing and disturbing cry: “Wenn jetzt nicht gleich a Ruh’ is” (How can there be silence now…!).

In the same room and finish Instant silence (2010), a domestic and intimate object, an abandoned duvet in a silent and heavy dream (made of extruded polyester foam) is placed in front of a photograph of a seascape where it seems emerge sublime bottom engañosa calma simulacrum of the sea, made with plastic caps, keeps us at the necessary distance.

Material, versatile and ductile, intended for sculptures such as Sitzender Mann (Hombre sentado, 2022), Stehender Mann (Hombre de pie, 2023) Fr Green Octopus (Pulpo verde, 2023) was made from wood wax, used from genesis of the sculpture which here brings out the detail and vulnerability of the bodies represented, whether human or animal.

Let’s pay attention to the way they are displayed: on the wall, on one or several surfaces and with a background that highlights them (in all types of building materials) Custom micro scenography.

The exhibition was built from our images they ask after disappointment. We have more items. Here we list only some of them. Apparently normalcy that goes out of place once the cord is damaged and disaster threatens. We would love to sit there human presence in some hope and existential anxiety (Flur, 2016).

In the Compostela Museum, Ranner proposed a distant aesthetic and analytical experience. Proof of who they are huellas exhibition montaje (carpet protection still with paint residues, labels with technical data that have not been implemented) or visible metal thread structures any walls from which they opened the shades, in the manner of twenty-one who communicate different spaces.

Provisions that allowed us to observe work in other places by challenging common conventions and deactivating agreements between the public and the work. Exchange the emotion of being outside.