14
31 individual confrontations with
an object. Revised, commented,
reinterpreted, alienated, sometimes
ironic, sometimes appreciative,
and sometimes grotesque.
Within twenty years, a diverse
collection of works was created,
starting from a work that was
considered ideal-typical and unsur-
passed in its perfection of form.
Jochen Fischer, for example,
completely covers the lamp with
wicker, thus seemingly making the
icon disappear fully – yet not
without making it reappear through
a sensual play of light. Fritz
Schwegler humorously puts a fool’s
cap on the Wagenfeld lamp. And
Susanne Windelen fills the perfect
smoothness of the lamp with
white plastic resin, mixes the mass
with fluorinating particles – and in
her way places the lamp’s luminosity
at the centre. Aldo Mondino
performs an art-historical rearrange-
ment, hanging two Bauhaus lamps
with ballpoint pens and calling his
work “Jugend-stilo”. Daniel Spörri,
on the other hand, removes the
lampshades and reinterprets the
glass covers in his black-and-white
photography – an object of pleasure
instead of a luxury item. This way,
especially workpieces that tran-
Jochen Fischer, o.T., 1998
Fritz Schwegler, o.T., 2000
