Installation view #0 " 安裝觀點 “

Strafraum, installation by Susanne Junker, plastic panels, paper dolls and photograph, "figure for the base of a crucifixion #19".

STRAFRAUM may be interpreted as an attempt to address the act of self-sabotage & loss of individuality in our mass-consumerist era. Corporal puppets branded with multiple prints are strewn in a circle beneath an intimidating framed “Kagemusha” figure, an omniscient sentinel of a forbearing presence. The soft-sculptures are piled upon one another, at random, an orgiastic scene of identical beings merging as one extenuated self, a poignant display of the multiplicity of the “one” and the confused identification with the “other”. Susanne Junker has consciously sought to surpass the previous limitations of two dimensional photographic artworks, individually applying prints in countless layers across the haphazard life-size figures, and the juxtaposition with the bold & framed Lord reminiscent of the atypical Warrior of the East in popular iconography suggests something latent, violent and a deliberate suspense is lent to the installation. The work itself contained by industrial standard "Caution: Wet Floor" signs sheds light on the artists' characteristic humor, both an alarm to the immediacy of her work and a concrete echo of the "MYSPACE" insignia which label the otherwise anonymous bodies. STRAFRAUM is the first public presentation of this provocative German photographer’s spatial creations, the installations title in translation “Penal Room” is a proclamation against the domination of the individual/individuality and subjugation of the self within the blind machinations of the market-centric, consumerist society of today.
惩罚区域 苏珊娜·容克

“惩罚区域”可以看作是一种意在解决大众消费时代的自我戕害和个性沦丧问题的行为艺术尝试。令人生畏的影子武士屹立中间，下面则布满了排列成圈状的真人道具，他们身上都印有多重图案。影子武士代表了无所不在的武士道和忍者精神，而这些柔软的真人道具被随意而凌乱地摞起来，这样一种对比表现出在集体放纵的时代，个体的趋同和融合造就了一个“被削弱的自我”，这是对“自我”的多重性和与“他人”身份认同的混乱性的讽刺展现。
苏珊娜·容克的艺术思路是要摆脱二维摄影艺术的局限性。她运用了真人道具，故意采用非常凌乱的摆放方式，在他们身上印满无数层图案，而且用现代流行的符号学去浓缩和表现英勇无畏的非传统东方武士形象。这样其作品中就有了一种潜在的，暴力的意味，营造出了一种人为的悬念感。而作品身上出现了“小心地滑”这样代表了工业标准的字眼显示出艺术家独特的幽默感，既能让人们感受到作品的感染力，同时这也是对“我的空间”概念的具体响应，把自己同周围默默无闻的大众区别开来。
“惩罚区域”是德国先锋女摄影家苏珊娜·张克空间艺术创作（行为艺术）的首次公开亮相演出。 它首次抨击了个人主义的盛行，是对当今以市场为中心的消费型社会对个体的盲目误导和奴役的宣战。