The world in a box. Box = English rifle, container. The world as a box, yes it works? And how would this work after the pitman Joseph Cornell, who with his speakers seemingly took up the concept of the box as an art form of the 20th century? Let's be honest, if someone paints an oil painting, then no one asks if Rubens should have been allowed to paint an oil painting. And Lilly Grote has been building boxes for years. It's their boxes and only theirs alone. The formal parallel is solely the fact that their worlds live in boxes, just as Joseph Cornell's lived and lives in his boxes.

More parallel is not the reason, because the artist Lilly Grote a shaken degree of independence on the scale sets in which their art universes mutate with imagination to true heavyweights. True poetic heavyweights. These are the art worlds and the illusory spaces of the enchantress Lilly Grote. The materials used mainly come from everyday life. There are often disposable objects of a society that produces a lot of bulky waste. objet trouvé is the term Technicus of such finds, which are washed ashore and beheaded by the Finderin. Lilly Grote, for example, creates a storage space, a fund from which she plants her simulated magic gardens. In addition to wood and fabric, metal and paper, there are always technical devices and objects for disassembly: in almost all boxes there is artificial lighting.

Technology, lighting, light, electricity. (Nota bene: Doctor Faustus lights the light.) Artistically, Grote comes from a strongly cinematic milieu, in which the Academy of Arts also operates, but for decades the continuous film work has dominated. Always backstage. In the wings of the mask of technology. Not the limelight is her perfume, but the culinary preparation of the most delicious aperçus. By means of techno-finesse, such as the subtly used spice of a master chef, rooms are illuminated and illuminated scenarios presented, in which the director Grote has done for the tabletop. That the mouth water runs together and it just so crackles tickles on the taste buds, because the menu offered there is enriched with the best that the civilization garbage in the Experimental Office Berlin has so aufzubieten.

Whether a rusty keychain offers the Repoussoir to Abu Simbel and kidnaps us in the staggered backdrop landscape of ancient Egypt, or Swakop's Tiger walking in the Yves-Klein-Bleu interior, the scene from right to left, Lilly Grote conjures! She conjures with associations and imitations, with improvisations and simulations. Of course, this wide-ranging repertoire is a knowledgeable one. Who in the early 21st century could (and wanted to) claim to be autonomous? Of course, well-known templates flow into the magical landscapes, sometimes even as picture puzzles. But who did not want to be pleased when quotes arose from the fund of art of the world of joys and sorrows, which can be sensed in the poetry of these boxes? Of course, Magritte knocks on and is named in the title as well as the celluloid capital Los Angeles. But all this is beyond any epigone, as it is composed with the own spice, with the individual access and according to the personal recipes of the Lilly Grote.

In any case, the direction is also one of light. Cleverly to cleverly installed behind over the suffocation backdrops Staffagen light sources that illuminate the stages illuminate illuminate. The atmosphere evoked here only creates the fluid, in which big and small gets big. Some strolling becomes a passage into works of Alice and Wonderland. Extremely knowledgeable are not only the building blocks set in scene and immersed in the only so well made rifle, the container. There is work, the light itself becomes the title-giver, like the warrior of light.

Again and again extremes meet, tactile meets tactile, soft to hard, textile to metallic, and in this confrontation Lilly Grote asks us questions questions. What say we ask questions, when a small girl in a colorful silhouette moves towards a now monumentalized door lock fitting, through whose keyhole punching lavish morning light seems to penetrate? Certainly in the worlds of the Lilly Grote many shoals of rapids are contained, which then provide the material from which discussions and discourses on all subjects of the West could be derived, however, never marring Manifeste theses arguments to a notorious subject didactics. These are the shades of light, this is the entire direction too poetic, not politically socially women's motivated decidedly motivated. And therein lies the strength of these autonomous hermetic poetic boxes of the sorceress. No: the master wizard