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With room inside room inside room and window in front of window in front of wall, the artist created a very peculiar way to stage his work in exhibition spaces. He either completely reconstructs entire rooms of the house by dismantling and reassembling them inside a gallery or constructs exact replicas.
The three authorities under comparison are all discussing along a common theme with the basis of Schneider’s “Haus Ur” under review. Udo Kittelmann’s “Haus ur, Rheydt versus Totes Haus ur, Venice” and Elisabeth Bronfen’s “Secret Sites / Transmittable Traces” articles were both taken from “Gregor Schneider, Totes Haus ur, La Biennale Di Venezia 2001”...
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