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Schirin Kretschmann is developing a new ensemble of works that responds to the local surroundings by radically recoding the exhibition spaces. In large-scale installations, sound and video works, performances, and context-specific interventions, she creates an entirely novel situation: by combining small and large, loud and quiet events that constantly reconfigure and relate to one another, she transforms the exhibition space into a living sphere and opens up a multi-layered choreographic experience for visitors. Spontaneous interactions, perceptual loops, and moments of pause challenge visitors to rethink familiar perspectives and experience the exhibition as more than just a static, finite event.

On the southern terrace of DAS MINSK, artist Schirin Kretschmann presents the temporary work BING (ROSE). Developed across different contexts since 2007, the series BING uses ice and pigment to temporarily mark spaces, allowing what is already inscribed in a site to emerge. A cuboid block made of industrially cut ice blocks is sprayed on site with vivid pink paint. As the ice melts, the paint particles detach and accumulate on the ground. When the ice has fully disappeared, only a fleeting trace of the intervention remains.

The terrace at DAS MINSK, where BING (ROSE) is realized, sits on the Brauhausberg, beneath which historic ice cellars once used to cool beer are preserved. The history of the site resonates with the materiality of the work: as it melts, the sculptural character of BING (ROSE) liquefies—and with it, the work’s formal reference to the site’s architecture. New, ephemeral relationships emerge, for example between color, ground surface, and the building’s materials, as if the melting block of ice were interpreting its surroundings as it disappears.