Hintergrundbild der Seite: Lichtinstallation der Künstlerin Yvonne Goulbier


  • Yvonne Goulbier: „Erinnerung an eine verlorene Landschaft“, (1985), installation in the underground station Königsworther Platz, Hanover

Texts by Ludwig Zerull and Manfred Fath

Extract from Manfred Fath:
„… The work of Yvonne Goulbier is thus primarily aimed at the viewer’s ability to experience and to open up to the peculiar effect of these colour spaces, whose poetic or fairy-tale character is already hinted at by the titles. …“

Extract from Ludwig Zerull:
“A dream from another world – glowing with inner fire and splendor. … Whoever … was there will never forget the memory of a dematerialised dream space of enormous dimensions. …
…. The unreality, the transcendence of this art landscape, repressed the sobriety of the station for a week. …“

  • Yvonne Goulbier: “Lichträume” (1986) – Exhibitions: Museum of Cultural History Osnabrück, Municipal Museum Gelsenkirchen, Art Association Wolfenbüttel

Excerpt from Lothar Romain, “Dissolving the boundaries of space”:
„… The theme is the metaphysics of spaces and the human being, who can no longer be sure of their usual orientation. In the first place, the work aims at a new quality of experience…… The viewer – they can only explore the possibilities of some installations by walking – belongs to the installation, because it is only completed in their feeling and his head…”.

  • Yvonne Goulbier: “Lichträume 1986-1987”, Wilhelm-Hack-Museum, Ludwigshafen (1987)

Texts: Bernhard Holeczek, Lida von Mengden

Excerpt from Lida of Mengden:
„…. In parallel to the targeted light and colour direction, the abandonment of the panel format, the enlargement of scale and the inclusion of the sculptural and the space are essential prerequisites for Yvonne Goulbier’s new visual language. All her installations are related to the structuring moment of a room and require additional darkness to unfold their full effect. The magic of darkness, which “observes us with a thousand eyes” (Artaud), is joined by the magic of a colour-light spell, which suspends the given space by establishing its own order. …With the light or colour spaces, Yvonne Goulbier has found a way to introduce a new dimension of sensuality and directness into the visual arts, as was previously reserved for the media of theatre, film or even fireworks.

  • Yvonne Goulbier: “quasi una fantasia“, Sprengel Museum, Hanover (1992) – ISBN 3-89169-067-3

Excerpt from Beatrix Eising:
“… in “quasi una fantasia” Yvonne Goulbier stages a graceful dance of death, a sarabande of artfully interwoven celestial bodies, woven into an elegy of cool shimmering blue light that seems filtered out of the magic of a quiet clear full moon night. Like a soft burial shroud, it envelops thousands of “corpi Christi”; it congregates in them to reflect back, unreal, fairy-like and mysteriously …”.

  • Yvonne Goulbier: “Jenseits der Wirklichkeit“, Kunstverein Kapelle Weitendorf (1996)

Excerpt from Beatrix Nobis:
„… Yvonne Goulbier’s light spaces form a closed district that is largely shielded from the influences of the outside world. People and things undergo a transformation into the ghostly and unreal in the dim light of the black light lamps. Only where the objects are coated with a layer of pigment do they reflect the light, but in a way that dissolves any fixed boundaries and gives the bodies an aura that is mystical, magical and magical. From deeply shaded zones, the apparitions dissolve with a glow that shines from within themselves, only fleetingly anchored in the three fixed dimensions of the space…”

  • Yvonne Goulbier: “Lichträume, Cibachrome, Bilder“, Kunststiftung Schloss Agathenburg – ISBN 3-9806197-0-2

Texts: Eckhard Schneider, Bettina Roggmann

Excerpt from Bettina Roggmann:
“… The light-shaped rooms by Yvonne Goulbier are adventure spaces, not the fast-moving experiences of an adventure or amusement park, but quiet places in which the viewer experiences their surroundings and its changes.
… The magic that makes up her light spaces is conveyed superficially through the sense of sight, but deepened through one’s own inner sensations. …“

  • Yvonne Goulbier: “beyond day and night”, edited by Isabella Fehle, Städtische Galerie am Markt, Schwäbisch Hall (1998)

Texts: Isabella Fehle, Renate Puvogel

Excerpt from Isabella Fehle:
“… In her artistic work Yvonne Goulbier deals with the exciting relationship between light and space. Her installations are explicitly related to the location. An examination of the respective spatial situation, whether museum, church or subway station, is almost characteristic of her approach.
… Yvonne Goulbier transforms places, dematerialises them. The artist allows light-filled spaces of experience to be sensed, for the viewer she creates a new, sensual situation in the intersection of the material and immaterial, which inevitably draws them into a spell. Reality transforms into an imaginary and transcendental place – in this world and the one there-after.”

  • Yvonne Goulbier: “Luna Park / PIC NIC“, Centre for International Light Art, Unna (2002)

Excerpt from Uwe Rüth:
„…. Yvonne Goulbier has developed her own distinctive „artist vocabulary“,allowing a wide range of expression. For preference she likes to exploit the mysterious sensual effects of dark environments devoid of natural light.
…. The space which the artist creates becomes a mystical experience of a world alienated and divorced from reality. The work of art completely encloses and contains the viewers experience in all its intensity: there is no escape. Amazed and enraptured the visitor becomes part of this night world. “

  • Yvonne Goulbier: “the Game” – painting, objects, photography -, Kunsthalle Dominikanerkirche Osnabrück (2002)

Texts: André Lindhorst, Hans Gercke, Michael Stoeber, Yvonne Goulbier in conversation with Beatrix Nobis

Excerpt from André Lindhorst:
“… In the artistic play between appearance and reality the boundaries between reality and fiction become blurred, doors open to spaces in a world full of poetry and mystery. …“

Excerpt from Michael Stoeber:
“… Yvonne Goulbier has discovered black light and luminous paint as an artistic device to extract magic and depth from everyday materials and sober constellations. …“

Excerpt from Hans Gercke:
“… The room loses its reliable contours, becomes incommensurable – we gain insight into another, dreamlike world. … Hardly anyone will be able to escape this, the senses beguiling magic game, …”

  • Yvonne Goulbier: “Pierrots Paradise“, Mönchehaus Museum für moderne Kunst, Goslar (2004)

Excerpt from Beatrix Nobis:
„…. The occupations, transformations and permeations of space that Yvonne Goulbier undertakes lead to a fundamental reorientation of aesthetic perception. … Yvonne Goulbier’s installations always search for the point of culmination, at which the human understanding of space and experience of time, which are understood as a continuum in everyday life, dissolve as fixed coordinates of orientation. … Time seems to stop, space seems to expand infinitely. …“

  • Yvonne Goulbier: “Leuchtstücke“, Nord LB, Hannover (2004)

Excerpt from Dieter Ronte
„…. Yvonne Goulbier is truly a superior artist who takes a strategic approach. Not only because her works reflect light, but because she is at home in the micro – as in the macrocosm. Her works are near and far, tangible and describable as three-dimensional objects, often found objects of a certain iconographic form. Or they are expanding, losing themselves, opening up the cosmos.
… The banal suddenly shines in a new splendour never seen before. The artist visualizes the viewer’s premonitions and dreams…”

  • Müller + Goulbier: “Ricordi di Roma“, Gifhorn Art Association (1990)

Excerpt from Beatrix Nobis:
“… “Ricordi di Roma”, memories of a life span, … these wall sculptures between openness and density, between heaviness and lightness, live from the ambivalence that they assume towards their surroundings; they are a response to the space and a response to the surface. … The colours dissolve the matter, as it were, unify its movement and make visible the transition between the spirituality of the work of art and its haptically tangible existence. …“

  • Müller + Goulbier: “Skulpturen 1992″, Municipal Museum Gelsenkirchen (1992)

Excerpt from Dieter Ronte:
“…to bring travel memories to metal in this way is truly unusual. … Your creations are unique, they add something new to what you have seen. They process everything in order to make the new object clear with the same virulence with which the things of everyday life have surrounded it in a floating manner – in the experience of memory. …“

    • 11. Höhler Biennale, Kunst unter der Altstadt von Gera, Verein zur Erhaltung der Geraer Höhler e.V. (2023) S. 22,23

Light room „High Noon oder der Tanz der Medusen zur Hoch-Zeit”

    • EviLICHTungen – internationale Lichtkunst Biennale, (2022) S.58,59

Light room „…zwischen den Welten…“, Kreuzgang Dommuseum und Annenkapelle

    • “Faszination Licht“,  Zentrum für internationale Lichtkunst, (2022)  ISBN978-3-00-072220-2

Light rooms „Luna Parc“, S.104 und „PicNic“, S.105


    • „Donaugalerie 2019“, Galerie der Stadt Tuttlingen (2019), ISBN 978-3-9818691-4-9

Light rooms „… between …“, p. 19, 40 ff.

Excerpt from Anna-Maria Ehrmann-Schindlbeck, p. 7 ff. (18):
„…. The special project for the Donaugalerie is the only interior installation that focuses on a historically and architecturally distinctive building, the former crematorium built in the 1920s in Art Nouveau style. …With sensitivity and respect, the artist approaches the premises and the history associated with them. …”…between…” is the title of Yvonne Goulbier’s installation work for Tuttlingen, which allows the viewer to immerse themself in a meditative way in an intermediate realm between this world and the next, between the material and the spiritual.”

    • „Erdlicht – Kunst unter der Altstadt von Gera“, Verein zur Erhaltung der Geraer Höhler e.V. (2019)

Light room „… i fiori della luce…“, p. 18 f., Text: Wolfgang Leißling, p. 8 f.

    • „extended–mind“, Light Art Weekend Group Exhibition, ARTE LUCE Kunstprojekte, Berlin (2018)

Light sculpture „East of the Sun“ (1995/2018 T.W. Stiftung Sammlung), p. 18 f., Texts: Alice Hinrichs, Helena Horn S. 10 ff. (11/12)

    • „Scheinwerfer/Spotlights“, Lichtkunst in Deutschland im 21. Jahrhundert“, Robert Simon, Julia Otto (2015), ISBN 978-3-7356-0056-1

LED-Lightbox „… durchwandert Zeit und Raum…“ (Lichtraum Kunsttage Winningen 2010), p. 62 ff.

    • „Kunstprojekte Robert Mayer Jahr 2014 – Yvonne Goulbier – Vollrad Kutscher – Sebastian Hempel, Gundel/Täuber Stadt Heilbronn (2014), ISBN 978-3-936921-19-9

Light projection „… die Form nur verweht, das Wesen besteht …“, p. 16 ff. with Text Marc Gundel, p. 8 ff

    • „Kunsttage Winningen 2012/2010“, Kunsttage Winningen e.V. (2012), ISBN 978-3-925991-14-1

Light room  „… durchwandert Zeit und Raum …“ (2010)

    • „25 Jahre Kunstpreis der SPD-Fraktion im Niedersächsischen Landtag“, SPD-Fraktion im Niedersächsischen Landtag (2012)

Kunstpreis 2008, p. 52, with light room „Inmitten aller Vergänglichkeit“, Mausoleum Bückeburg (2009)

    • „Lichtkunst in der Sammlung Robert Simon“, Robert Simon, Susanne McDowell, Julia Otto, Kunstmuseum Celle mit Sammlung Robert Simon (2010), ISBN 978-3-925902-69-7

Work „tears of joy“ (2001), Text Martina Löhne, p. 129 ff.

    • „Lichtparcours 2010“, Stadt Braunschweig, Fachbereich Kultur, (2010)
      ISBN 978-3-941737-27-3

Texts: Dr. Anja Hesse, Gesine Borcherdt

Light installation Jasperallee-Brücke „Evokation in Rot“ (2008), p. 20

    • „Blick zurück nach vorn“, Montag Stiftung Bildende Kunst, Bonn (2008) with CD

Project: „Zimmer der roten Träume“, p.41 ff., poem: Karl Gamper

    • „25 Jahre Preis des Kunstvereins Hannover – Atelierstipendium Villa Minimo“, Kunstverein Hannover (2008), ISBN 978-3-934421-15-8

Yvonne + Klaus Goulbier, Skulpturen „Stille in Rot“ (2007), p. 51

    • „Ab + An“, Ausstellung von Künstlersichten auf das Anzeiger-Hochhaus, Verlagsgesellschaft Madsack (2007)

Cibachrome „Poesia“ (2000)

    • „Tatort Paderborn“, Stadt Paderborn (2007)

Light room: „Schönheit erblüht in der Stille Deiner Gegenwärtigkeit“,
Text: Annette Roggatz p. 39 ff.

    • „Licht.Blick.Hafen“, Stadtwerke Mainz AG, Mainzer Hafen GmbH (2006),
      ISBN 978-3-9811-5901-1

Light room „Sternenstaub“, Text Heinz Höfchen

    • „Zum Wasser – Ins Licht“ Kunst im Stadtraum, Hansestadt Wismar (2005)

Light room „zwischen gestern und morgen“, Text Annie Bardon

    • „LICHT Lichtrouten 2003“, WKL GmbH, Lüdenscheid (2003), ISBN 3-934687-22-9

Texts: Bettina Pelz amongst others, Light room: „Reise in die Stille“, p. 46ff.

    • „10 Jahre Kunstverein Grafschaft Bentheim“, Gudrun Thiessen-Schneider Kunstverein Grafschaft Bentheim (2003), ISBN 90-807209-4-1

Texts Gudrun Thiessen-Schneider amongst others, exhibition views of “Frutti Amari“ (1999) and „Monument für eine Rose“ (2002)

    • „Die verbotene Stadt“, Elisabeth Montag Stiftung (2002), ISBN 3-935783-08-6

Light room: „Glück Auf“, Text: Claudia Heinrich, p.38 ff.

    • „Der Berg“, Hans Gercke, Heidelberger Kunstverein (2002), ISBN 3-933257-98-0

Light sculpture: „Vom Mond im Dunkel blau erleuchtet“, Text: Gabriele Weinmann, p.362 ff.

    • „Kunst auf Rezept“, Hartmut Kraft (2001), p. 146, ISBN 3-89770-143-X
    • „Blickachsen 3“ – Skulpturen im Kurpark Bad Homburg v.d. Höhe -, Edition und Galerie Scheffel GmbH, Bad Homburg (2001), ISBN 3-926546-37-9

Light room „Nach Einbruch der Dunkelheit“, Text Gottlieb Leinz, p. 36 ff.

    • „Live-Art“ – 7 Künstler-7 Tage – 7 Stunden im Kunstmuseum Celle mit Sammlung Robert Simon, Niedersächsische Lottostiftung (2001), p. 14 f. mit CD
    • „20 Jahre Heitland Foundation“ – Zwanzig Kunstpreisträger einer privaten Stiftung –

p.45 ff. with photos of light rooms „Out of time“, St. Petri Lübeck (1999) and „Silentium“, Kunstverein Oerlinghausen (1998)

    • „Lichtparcours Braunschweig 2000“, Stadt Braunschweig (2000)

Projection „Rosen ohne Dornen“, Rosentalbrücke, Text Beatrix Nobis

    • „Projekte zum Lichtparcours“, Stadt Braunschweig (1999), ISBN 3-00-003919-8

Project: „Rosen ohne Dornen“, Projection onto the Rosentalbridge p. 48 ff., Text Beatrix Nobis with pictures of „Für die Königin seiner Träume“ (1995)

    • „Das erste 24-Stunden Kunstmuseum der Welt“, Kunst-Stiftung Celle (1998),
      ISBN 3-925902-29-5

Light sculpture „seven up“ (1998), p. 40 f.

    • „Licht und Raum, Elektrisches Licht in der Kunst des 20. Jahrhunderts“, Michael Schwarz (1998), ISBN 3-87909-604-X

Carsten Ahrens, Im Licht des Lichts, p. 98 ff., 104: „East of the sun“ (1993) 

    • „Kunststreifzüge“, Niedersächsische Lottostiftung together with Collection Robert Simon, Kunsthalle in Emden, Stiftung Henri and Eske Nannen (1998)

„Zaubergärten“, p. 38 ff., Text original sound N3-film feature Yvonne Goulbier with  „Jenseits der Wirklichkeit“ (1996), „Erinnerung an eine verlorene Landschaft II“ (1997) und „true love“ (1997)

    • „Licht“, Botho-Graef-Kunstpreis der Stadt Jena (1998), ISBN 3-930128-35-7

Sculpture „Für die Königin seiner Träume“ (1995), p. 40 f., Text Eckhard Schneider

    • „Gabriele Münter Preis 1997“, Frauen Museum Bonn (1997)

Text Beatrix Nobis

    • „Nachtschicht“, Mecklenburgisches Künstlerhaus Schloß Plüchow (1997) with CD-Rom

Light room „Für den Augenblick von Ewigkeit“

    • „Roma“, Villa Massimo Studiengäste & Ehrengäste 1988 – 1992, (1995)

Room projection foyer Kunstverein Hannover o.T. (without picture), Cibachrome „Projektionscollage“ (1994), p. 17, „west of the moon“ (1993), p. 18

    • „west of the moon“, Yvonne Goulbier, Städtische Galerie im Buntentor Bremen (1993)

Light room „west of the moon“, Text Beatrix Nobis

    • “Licht-Räume”, Museum Folkwang Essen (1993) – Bauhaus Dessau (1994)

Light room „East of the sun 2“, renamed later to in „glowing up“ (1993), p. 52 ff. with text Beatrix Nobis

    • “Wolfenbüttel und der abgestiegene Reiter“, Kunstverein Wolfenbüttel (1993)
    • „Preis des Kunstvereins Hannover“, Müller + Goulbier, Kunstverein Hannover 1993

Text Beatrix Nobis

    • „auf Bewährung“, Universität Lüneburg (1991), ISBN 3-88920-017-6

Light room „Blue Moon“, p. 34 ff., mit Text Christine Bonacker

    • „Material und Raum“, Galerie Heimeshoff, Essen (1990/91)
    • „III. Internationale Biennale der Papierkunst 1990“, Leopold-Hoesch-Museum Düren (1990), ISBN 3-925835-92-X

Light room „Gescheiterte Hoffnung“ (1990 – ohne Abbildung), pictured light room „Kathedrale der zweifelhaften Helligkeit“ (1986), p. 62 f. with text by Lida von Mengden

    • „10 Jahre Heitland Foundation“, Celle (1990)

David Galloway, Das Paradoxikum von Yvonne Goulbier, p. 66 ff., with pictures of „Das Marmorbild“, Installation Villa Massimo (1988), „Tagtraum – Nachttraum“ (1989), „Haus am Nil“, Kunstverein Springhornhof (1986) 

    • „Blau: Farbe der Ferne“, Hans Gercke, Heidelberger Kunstverein (1990),
      ISBN 3-88423-062-X

Installation „Pierrots Garten“ (1990), Text quoted after Lida von Mengden in mezzogiorno – mezzanotte, exhibition catalogue Wilhelm-Hack-Museum Ludwighafen (1987) with picture of „Tagtraum – Nachttraum“ (1989)

    • „Phänomen Farbe“, Neckarwerke Esslingen (1989)

Light sculpture „Dame/König“ (1988)

    • „ArtBit – Computer in der Kunst im Computer“, Kunstverein Schwetzingen (1989)
    • „Yvonne Goulbier“, Preis der Heitland Foundation 1988, Schloss Celle (1988)

Light room „Primavera“ (1988 – ohne Abbildung), Pictures with poem by Marcel Magis, „Chocolate, strawberries and sunshine“, Galerie Maerz, Köln (1987), „Re 1“, Kulturgeschichtliches Museum, Osnabrück, Akzisehaus (1986), „Ein Abend mit Georg Christoph Lichtenberg“, Installation Theater der städtischen Galerie Nordhorn (1986), „mezzogiorno – mezzanotte“, Wilhelm-Hack-Museum, Ludwigshafen (1987), „Kathedrale der zweifelhaften Helligkeit“, Städtisches Museum Gelsenkirchen (1986), „Erste Reise an die Grenze des Zwielichts“, Goethe-Institut Madrid (1987), „Haus am Nil“, Kunstverein Springhornhof, Neuenkirchen (1986)

    • „artware – Kunst und Elektronik, Exhibition of Deutschen Messe AG und Siemens AG, Hannover-Messe CeBIT und INDUSTRIE (1988), Karl Ernst Osthaus Museum, Hagen

Room installation „Strange Room“ (1988, renamed into in „Dame/König“ – without picture), Text with image of the room installation „Chocolate, Strawberries and Sunshine“ (1987)

    • „Der Sonne zum Geschenk gemacht“, Installation for Drabert-Kunstpreis, Drabert Messestand in Köln 1988
    • „Das Marmorbild“, installation in the villino of the Villa Massimo after the novel of the same name by Joseph von Eichendorff, (1988)
    • „Barkenhoff Stipendiaten 1984 – 1986“, Kunstverein Hannover (1987), Schriftenreihe der Barkenhoff-Stiftung Folge 12, ISBN 3-923892-03-9

Text Giso Westing

„Ein Abend mit Georg Christoph Lichtenberg“, Installation Theater der städtischen Galerie Nordhorn (1986), „Zwischen den Sonnen“, Installation im Mausoleum Schloß Etelsen (1986), „Haus am Nil“, Kunstverein Springhornhof, Neuenkirchen (1986)

    • „Profile, Impulse 3 – Niedersächsische Künstlerstipendiaten 1985-87, Mönchehaus Museum für Moderne Kunst, Goslar (1987), S. 36 ff.,

„Zwischen den Sonnen“, Installation Mausoleum Schloß Etelsen (1986), „Re 1“, Kulturgeschichtliches Museum Osnabrück, Akzisehaus (1986), „Haus am Nil“ Kunstverein Springhornhof (1986), Poem Marcel Magis

    • „Yvonne Goulbier/Ulrike Grest/Gerhard Merkin/Klaus Müller: Malerei – Installation – Plastik“, Kulturamt der Landeshauptstadt Hannover, Posen/Poznan (1986)

Text Marianne Winter with pictures „Über den Schatten schwebt der Regenbogen“, floor installation HBK Braunschweig (1985), „springfever“, Kunstraum Wörthstraße Hannover (1985), „Re 1“, Kulturgeschichtliches Museum Osnabrück, Akzisehaus (1986)

    • „Villa Massimo – Bewerbungen um das Rom-Stipendium 1986“, Berlin (1986)
      S. 48 mit „Re 1“, Kulturgeschichtliches Museum Osnabrück, Akzisehaus (1986)
    • „Zwölf Bildhauer in Niedersachsen“, Kunstverein Hannover (1986)

Light room „im stille Blau der unbewegten Ruhe“ (1985), Text Marianne Winter, Katrin Sello,

Excerpt from Katrin Sello:
„…. Yvonne Goulbier’s light spaces present an extreme possibility of sculpture. Fluorescent papers serve as material, black light as instrument to make the paper glow. In these precisely thought-out, technically calculated light installations, the material, the paper, loses its tangible materiality, appears immaterial like light itself. “The quiet blue of motionless calm” is the name of the light space that Yvonne Goulbier has created for this exhibition, a grotto in which stalactites grow from the ceiling as cascades of light. The romantic aspect in this case owes itself to art history. Yvonne Goulbier had the idea for this installation in the Bremen Kunsthalle in front of a painting by the romantic painter Jakob Fried “The Blue Grotto of Capri”. …“

    • „Delta“, kunstraum wörthstraße, Yvonne Goulbier/Ulrike Grest/Gerhard Merkin/Klaus Müller/Jochen Weise: malerei – installation – plastik, (1985)

Floor installation „cantus firmus“, Refektorium of the monastery Lamspringe (1984), „Über den Schatten schwebt der Regenbogen“, Floor installation HBK Braunschweig (1985), „springfever“, Kunstraum Wörthstraße Hannover (1985)

    • „71. Herbstausstellung Niedersächsischer Künstler“, Kunstverein Hannover (1985)
    • „Forum junger Kunst“, Museum Bochum, Städtische Galerie Wolfsburg (1985),
      ISBN 3-8093-0102-7

Floor installation „Lichtwiese“ (1984)

    • „Kunstlandschaft Bundesrepublik“, Hannover und Niedersachsen – Junge Kunst in deutschen Kunstvereinen“, Arbeitsgemeinschaft deutscher Kunstvereine (1984), ISBN 3-608-76196-9

„Lichtraum 11/84“, Text Heinz Thiel

    • „Delta“, Gruppe Delta Yvonne Goulbier/Ulrike Grest/Gerhard Merkin/Klaus Müller/Jochen Weise, Ausstellung Fabrikhalle Stammesstraße 42/44 Hannover-Ricklingen (1983)

Light rooms „Vier Kuben im Raum“ (1982), „… in der blauen Stunde“ (1983)

    • „Licht in Westfalen“, Städtische Galerie Lüdenscheid (1981)

Light objects „Kleines Regenbogenquadrat“, (Yvonne Fleckenstein, later Yvonne Goulbier) (1980) 

    • „Elektrizität – Energie unserer Zeit“, Bilder, Plastiken, Objekte, Grafik, Orangerie Hannover-Herrenhausen (1980)

Light objects „Imagination 1“ and „Imagination 2“ (Yvonne Fleckenstein, later Yvonne Goulbier) (1979)