MonAlisa-Love Drive

“... on 14 May 2002 R. Pauls made a most unusual discovery. He found the conclusions reached by Paul Poltron (+ 1842) in his research on the mysterious writings of MonAlisa (anno 1506), written at the very end of her life....”
Chance guided Roland Stratmann to previously unpublished fragments of text in the shape of what appear to be diary entries from the last days in the life of MonAlisa. Stratmann guides visitors though an impressive staging, in which this last phase of the MonAlisa’s life is reconstructed.
The visitor is confronted with a Kafkaesque situation, in which not the protagonist is transformed but the rooms of the gallery. The walls of the six exhibition rooms are cloaked with precious wallpaper of different designs. With every room, the extent of the change increases. At first, the changes are so slight they are almost imperceptible. A bit of wallpaper peels off the wall, here and there a smattering of text by MonAlisa appears, some strips of wallpaper plaster the walls in little waves or wrap themselves around a table, until finally everything moulds into a huge walk-in sculpture that takes charge of the whole room, a "Chaostapetenschleifenskulpturgeflecht" (wovenchaoswallpaperribbonsculpture).
The more the rooms change, the more the exhibition visitor’s interest is directed to the story of a crime. For some of the reels of wallpaper that reach into the room are torn into strips. Taken together they surprisingly form an outline drawing of some da Vinci portraits and show a series of stories that lay a web of clues around the mysterious life of the days of the MonAlisa. The visitor, led on a narrow path between reality and fiction, becomes a reader of tracks – every scrap of text that can be pieced together is a further step towards the solution of the mystery.