WILKHAHN

For the exhibition, the ‘WiChair’ by Wilkhahn is presented in two versions: one with a transparent coating that leaves all traces of the manufacturing process visible, and one with a rusted surface that reveals the natural transformation of the material.

The 'WiChair' is complemented by works from the artist Aya Sasakura and the photographer Frank Schinski. Their contributions broaden the perspective on the transformation of the material. Sasakura’s sculptures emerge from a direct dialogue with stainless steel, which reacts differently to heat, pressure and polishing, resulting in forms that cannot be fully controlled. Her works illustrate the transitions between control and chance, as well as how light, movement and touch shape surfaces. Together with the two ‘WiChair’ versions, a nuanced picture emerges of the versatility of steel in expressing change.

Frank Schinski’s photographs focus on the relationship between people and objects. His images reveal imprints, wear and tear, and the subtle traces that arise from everyday handling of objects. The emphasis is less on the objects themselves than on the relationship between bodies and materials – the traces left behind when people regularly touch or exert pressure on surfaces. Schinski’s documentary approach complements the ‘WiChair’ by offering a perspective that reveals signs of use as part of an ongoing process.

Through the interplay of product, sculpture and photography, a two-part installation is created in the spacious exhibition area, enabling visitors to experience steel as a malleable medium. In 'What the surface remembers', steel is presented not merely as a technical element, but as a surface that bears memories of its manufacture, use, and the influences of its surroundings.