narrative structure of the fair tale. Her art is the art of the fairy tale, only it is crueler. Aesthetic experiences like those of Artaud’s Theater of Cruelty, of Art Brut and beyond have for decades spread out a map of human suffering, where no home is to be found, rather a continual state of instability and uprootedness, a state of floating. These aesthetic experiences also represent the horizon of the aesthetic obsessions of Petra Sterry.
1 Vladimir Propp, Morphologie des Märchens (Frankfurt: Suhrkamp, 1975), orig. 1928.
2 Translator’s note: Although its resonances conjure rich imagery, the invented name “Dunkelschön” simply combines the German words for dark and beautiful.
3 Peter Handke, Kaspar (Frankfurt: Suhrkamp, 1970); Das Spiel vom Fragen (Frankfurt: Suhrkamp, 1989).