In 1955, Manfred Wakolbinger takes a new path by trying to free the sculpture – from container, pedestal and gravity – and by reinterpreting its meaning. He remains devoted to copper, except that now his works show traces that seem to carve vulnerability into the metal. Their organic shapes turn into artificial-technical installations, which resemble cogs in a machine, but hang loosely in chains from the ceiling and inspire associations with a slaughterhouse. Only through the combination of the installations’ orientation in the room and their surface treatment do they create an impression of containing predetermined breaking points, thereby becoming greatly unsettling. (Mona Horncastle)