1986, Munich, Germany
To think that the human body is entirely as it should be is, in Schmidt‘s view, a bit arrogant. Isn‘t it a pity after all that your ears can never touch each other because the head is always in between? Or why don’t we have antennae, our feeling would be more concrete!
For Schmidt, the way we stand in the world tells a lot about how we relate to the world. Human beings are placing themselves above things- and animals, ordering things into categories of right and wrong, sick and healthy. Schmidt wants to move away from that. She wants to overcome separations bodily. Schmidt‘s installations, prostheses and performances refer to aspects in which she demands an extensi- on of the body: a tube that allows you to breath „from nose to foot“ so that you get wing-like lungs and thousand lungs. ese are also vehicles that can propel the body into transformations.
The paintings and chalk drawings similarly display body parts and variations on them, not only of “Tausendlüngler” (thousandlungler) but also, for instance, of a snail. e texts that accompany them make them a bit reminiscent of schoolbook illustrations. Fascination becomes patently clear here.