Submission
Catharina Szonn

HIGH NOON


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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021
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Catharina Szonn, High Noon, 2021

Decommissioned machines from the 70s and 80s form the basic framework for Catharina Szonn’s installation in the donumenta ART LAB Gleis 1 at the main station. Their original function has given way to a post-capitalist admonition in the exhibition “High Noon.” In her works, Catharina Szonn deals with economy, technology and society. For her
exhibition in Regensburg, she creates a dystopian view of the future. What would the world look like if it were already beyond saving? In a simulated future, machines rotate as witnesses to the idea of infinite economic expansion. The artist invites the viewer to question the present as to whether it is already five to twelve or five past twelve, or in any case high time: “High Noon”.
Catharina Szonn fuels her creative process with notes and thoughts that she writes down. In addition, she takes hundreds of screenshots. For “High Noon,” she collected 500 screenshots, researching atomic bomb tests at Bikini Atoll in the 1950s, space travel and a
landfill for Earth in outer space, or material for stopping truck tires. Catharina Szonn’s affinity for text finds expression in LED illuminated signs. “No Panic” glows from one of these dystopian assemblages. Work titles such as “Trouble in Paradise” are characteristic of the artist’s poetically commenting attitude.
Media artist and curator Franz Reimer writes about Szonn’s assemblages of self-running machinery and squeaky-colorful plastic dreams: “Catharina’s installations reflect nothing more and nothing less than the reality of the best Germany there ever existed – an endless
symphony of factory halls, shopping malls, entertainment parks and garbage dumps strung together – the sad dream of an ever- increasing gross national product. The insoluble unfulfillment of eternal growth.(…) Catharina’s works pose the right questions at the right
time: What the hell are we doing here really?