The installation’s basic formal structure is defined by a circular vertical opening that extends up through the five floors, or ceilings, of the connecting annex built in 1982. The statically controlled drill holes have a diameter starting at 3 centimeters and expanding to 30 at the top floor. Seven formally independent installations, but related to one another as regards content, are arranged in the various exhibition areas and spaces around the vertical opening. All drill holes were closed with fireproof safety glass. From the lowest level a special projector emits a beam of light vertically upwards, while daylight enters the top floor through the topmost opening so that artificial and natural light merge within the virtual cylinder. In its vertical composition, but also in the interaction between work and Museum and work and viewer, ”HHole (for Mannheim)“ is exploring new aesthetic avenues and is better compared with a living organism than an immobile, fixed structure. Conceived as a permanent installation it is a ”work in progress“ and will be continually expanded through the addition of new components and in line with the artist’s ideas.

In terms of content and aesthetics ”HHole (for Mannheim)“ is a central work of the ”Neue Kunsthalle“, which since 2003 has been positioned as a ”living museum“ with a concept based on works and work groups that correspond in dialog form. In the various levels of the light installation, which can be accessed via a staircase with varying light management, natural media, such as water, light or aromatic substances, fixed and moving fittings, synthetic furniture and mirrors reflect various spatial and temporal connections or refer to specially produced photographs, video films and real-time images from collection rooms that can be seen on eight video monitors integrated into the roof of the top exhibition room that relate how the Kunsthalle came about, document its collection or the light installation itself. Moreover, in the accompanying film the viewer can see work levels and components that are not always otherwise accessible.

”HHole“ particularly addresses the observer’s successive perception. The latter experiences the complex events and the work’s various levels of meaning by strolling through the Museum and its exhibition levels,  but also by permanently altering his own vantage point, movements and observations around the respective light center in a work level. It is only through the combination of diverse images, views and aesthetic impressions of the highly disparate exhibition and work levels in the Museum that the installation can be experienced in all its complexity.

The installation, which is to be seen as an extension of the traditional sculpture, a spatial-temporal environment, illustrates in a refreshingly natural and unconventional manner how works of art evolve and the importance of the artwork per se. Moreover, the artist seeks with her work to make the viewer conscious of the ”microcosm“ museum as  a place of collective memory  and the simultaneity of art assembled in dialog and stemming from different times, cultures and media. She also wishes to point to the inherent laws in art and nature, to the organism of life not to mention the cyclical rhythms in nature.

We experience ”HHole“ as a multimedia and multisensory work that we can observe and assimilate from various positions. Simultaneously, it addresses the role of the museum today, its inherent history and historicity but also the various levels of reality unfolding within it. As such the light installation particularly hones the viewer’s awareness for the  perception of space, time, place, context, history and importance of the museum and also for the content of art. Meanwhile, the multimedia  light installation is experiencing huge regional, national and international resonance and is considered by many visitors to the museum of all ages as one of the collection’s most interesting works.

The artist’s works have been shown in many locations including the following museums and galleries: Museum of Contemporary Art, São Paulo – Museum of Contemporary Art, Ibirapuera, Brazil – Austrian Culture Center, Palais Palffy, Vienna – World Trade Center, São Paulo – Maison de l'Unesco, Paris – H.D.K. Fine Arts Academy, Berlin – Museum of Modern Art, Rio de Janeiro – Ludwig Forum, Aachen – EXPO 2000, Hannover - Lille Trainstation, Lille. Like most of the Kunsthalle projects, ”HHole (for Mannheim)“  is also exclusively financed through funds from private individuals and companies.