—KUNSTPRAXIS, 2001 / 2003 curated project together with Anja Casser < Back KunstPraxis 1 Haegue Yang and Marco Schuler 19.11. - 21.12.2001 Beginning with a concept of nature, artist Haegue Yang (Frankfurt/London) creates artworks which seek the hidden places in the urban landscape, venues which don't immediately reveal themselves to a passerby, but which are more likely to be found in unobtrusive plazas and easily overlooked streets. The wall work in the office of the company physicians at Wittelsbacher Platz began with a formal relationship to the architectural structure of the corridor there. The shifted symmetry of the hallway structured the rhythm of its colors. The vertically divided planes of color on the walls were shaded in various green and brown hues. This minor intervention satirized and confirmed the grand gesture of the color-field painting. Marco Schuler (Munich) is interested in discovering the secrets of everyday life. He searches for a kind of magic which is inherent in the objects and situations that we encounter in our daily lives. For the waiting room, the artist constructed, cut, and bent obsolete X-ray photographs to create model-like sculptures. He formed these images of x-rayed parts of the human body into three-dimensional faces, body parts, living organisms, and objects, each of which invites its beholder to embark on a voyage of free association. The sculptures, which were entitled "Break a Leg," were arranged on two opposite walls so that the people waiting to see the doctor seemed to be sitting between "flying organs" which playfully reminded the patients of their own physicality.     The video installation called "Schuler Makes Self-portraits" was created within the framework of a series of projects called "Schuler Videos" in which the artist challenged himself to accomplish tasks of his own choosing. To create the artwork which is on display at KunstPraxis, Schuler positioned an underwater camera at the bottom of a swimming pool and set its delayed-action shutter release to an eleven-second lag time. Those eleven seconds gave the artist just enough time to swim up to the water's surface. The moment the camera's delayed flash illuminated the action, his body broke through the water's surface and shot upwards into the air. The quest for the perfect instant occupied the focal point.