Kunsthalle Wien #FemaleFool Booklet I’m Isa Genzken, The Only Female Fool Museumsquartier I’M ISA GENZKEN, THE ONLY FEMALE FOOL 28/5 – 7/9 2014 www.kunsthallewien.at “Genzken’s urban aesthetic the sculptural field. It casts a critical operates at levels at once indexical, look at the present in her work, and connotative, denotative, material, takes this as the starting point for a symbolic and allegorical”, Joshua radical reinvention of reality. Formal Decter writes in the publication that rigor is confronted with a playful accompanies the exhibition. “She combination of materials, and the seems to have an intuitive grasp homogeneous with the disparate. of cities as territories of wonder, However, the diversity of expression complexity, fear and hope.” is never arbitrary, but corresponds to the dynamics of the big city, The large-scale exhibition at which on account of its ambivalence Kunsthalle Wien focuses on still serves as the main source of Genzken’s fascination with the inspiration for Genzken. The classical urban. Her sculptural exploration rigor of modern architecture, the of architecture is accompanied by post-modern fascination with the reflections on the social and the lived trivial and the motley combination of space in the global metropolises. vastly different styles in the real urban Genzken’s Social Facades (2002) space, constitute the raw material with their reflective surfaces are of her sculptures and assemblages, reminiscent of the reflective surfaces collages and films. of corporate buildings, however they also distort our own image, which is Genzken shares this exploration thereby reflected in the shimmering of contradictions of urban life and and reflective sheets from the DIY its inherent potential for social store that are pasted with image change with artists such as Gordon objects. Her New Buildings for Berlin Matta-Clark and Dan Graham whose (2014) are euphoric, utopian designs work she admires. In the exhibition that teach the actually built conformity selected works of these artists are tristesse, how great contemporary showcased with works by Genzken in building could look. The Beach Huts a dialogue, which is intended to focus (2000) celebrate the improvised on the parallels in their explorations temporary dwelling, as another place of the urban space. Works by Carl of longing. Science Fiction/Hier und Andre, Jasper Johns, Gerhard jetzt zufrieden sein (2001), which Richter, Wolfgang Tillmans and was jointly produced with Wolfgang Lawrence Weiner are also exhibited. Tillmans, forms with its large reflective For Genzken they are a source of cubes a resonator that duplicates the inspiration, of artistic dialogue, and environment and suggestively draws communal works. the viewer into the abstract space of pictorial illusion. Curator: Nicolaus Schafhausen Although Genzken’s multifaceted A publication with texts by Joshua work in essence entails a surprising Decter and Tom McDonough is wealth of ideas, it nevertheless published by Sternberg Press to provides for a clear anchorage in accompany the exhibition. 2 Ellipsoids and New York Hyperboles “To me, New York had a direct link with sculpture ... New York is a city of incredible stability and solidity. And then the height of the buildings ...” (Isa Genzken in conversation with Wolfgang Tillmans). The photographic series New York shot between 1998 and 2000 comprises approximately 600 b/w and colour photographs. They are pictures of skyscrapers, facades, reflecting window fronts, urban canyons and Isa Genzken, Blau-grün-gelbes Ellipsoid ‘Joma’, buildings that are mirrored in other 1981, Courtesy Galerie Buchholz, Berlin/Cologne buildings. Urbanity presents itself in these images as an agglomeration of Ellipsoids and Hyperboles are among impressive and elegant skyscrapers, Genzken’s earliest works. She a symbol of modernity. These produced these lacquered wooden images, that were shot with no great sculptures in the seventies aided by a effort yet seem to pursue a strong carpenter and a physics student. composition, are reminiscent of the The shape of the elongated, photography of the Neues Sehen streamlined sculptures was (New Vision movement), which itself calculated by a computer, in those days a very elaborated process. The perfectly converging parallels of the coloured wooden sculptures only touch the floor in one respectively two places. They give structure to the space that surrounds them. With their polished and shiny lacquered surface they enjoy an uncanny presence, where reified associations are overshadowed by geometrical constructedness. Centre of gravity and point of contact create a tension that is absorbed by the sculpture’s curvatures. In these works the surface appears to possess a certain depth, while depth presents itself as a curved folding of the surface. Isa Genzken, New York, N.Y., 1998/2000, Courtesy Galerie Buchholz, Berlin/Cologne 3 was characterised by Bauhaus. New Buildings Their detailed view is abstract and often diagonally shifted to emphasise for Berlin the dynamics of architecture. The speed of a metropolis is visualised in the geometrically structured buildings and the grid-shaped roads that aim to accelerate. I Love New York, Crazy City is the title of collaged books Genzken made in 1996 in which she pays homage to her beloved city. Isa Genzken, New Buildings for Berlin (Alpha), 2014, Courtesy Galerie Buchholz, Berlin/Cologne Architecture, probably Genzken’s most important subject, is succinctly expressed in her models for New Buildings for Berlin. These abstract models for high-rises follow the utopian spatial concepts of classical modernity like Mies van der Rohe’s design for a glass skyscraper in Berlin’s Bahnhof Friedrichstraße from 1922. “Only skyscrapers under construction reveal their bold constructive thoughts, and then the impression made by their soaring skeletal frames is overwhelming”, van der Rohe noted then. Genzken elaborates on this constructive thought and arranges coloured glass into sculptural formations. The work refers to the principles of modernism with its visionary, even societal 4 requirements but at the same time mirror of a reifying subjectivity or a takes credit for the sculptural sphere product of a society that tries to find that lies beyond reification. its fulfilment in consumerism. Social Facades Stelen The columns titled Stelen are often associated with Genzken’s longstanding interest in modern architecture, in particular the skyscrapers of New York. The columns are laminated with foils, sometimes even pictures and postcards. The slim, rectangular steles also explicitly refer to the minimalism of Post-War American Isa Genzken, Soziale Fassade, 2002, Courtesy art, that Genzken had engaged Galerie Buchholz, Berlin/Cologne from the beginning of her career. Naming them after her friends and Social Facades are pictorial objects people that are important to her, covered by Genzken with reflecting foil and other reflective materials. They lead to think one can see oneself in them, but all they do is provide a distorted image. Akin to the facades of corporate buildings with their reflective exterior that allows the inside to look out, but prohibits the outside from glancing in, they are attractive and repulsive at the same time. Ultimately nothing but faceless facades, they are reminiscent of the external shell of modern architecture, but whose reflective surfaces resist presenting any definitive “outward appearance” which continually shifts depending upon their surroundings. Where we hope to find our face, we discover instead the physical recalcitrance of metal, plastic Isa Genzken, A, B, C, D, 2002/2003, and reflecting foil. Social Facades Courtesy private collection Jarla Partilager and Galerie Buchholz, Berlin/Cologne, are thus an expression of the Photo: Mathias Johansson contemporary social constitution, 5 furthermore lends the work an air of Ohren (Ears) abstract portraits, that allow for an individual design despite the array of uniformly structured sculptures made from DIY store supplies: post-Fordist do-it-yourself- constructions of subjectivity. Science Fiction/ Hier und jetzt zufrieden sein sein The work is a collaboration between Isa Genzken and Wolfgang Tillmans and was created for an exhibition in Museum Ludwig, Cologne, in 2001. Genzken’s Isa Genzken, Ohr, 1980, Courtesy Galerie mirrored wall-units that capture Buchholz, Berlin/Cologne the spectator in a convoluted reflection confront Wake, Tillmans’ In New York Genzken made a series monumental photograph. Tillmans of photographs that featured the shows us the remnants of a party in ears of women she talked to on the his studio. The institutional space of street. The ear is exhibited as the art merges into the informal dance body’s endogenous “receiver”. As floor. The mirrors’ presence and Genzken’s work contains a whole the spatial dynamics they create, range of “world receivers”, abstract form a typical dissonance with the sculptures with antennas, the ear is deserted party scene: “here” and also interpreted as a recording device “now” react to a “there” and “then”. for outside impulses and receives Space and time overlap and even auditory messages. Magnified, the the reflective surface – a central photographs dissolve the sensory theme in Genzken’s work since organ into a plastic form, which by all 2000 – suddenly oscillates between means is equal to any loudspeaker or euphoria and an illusion that only world receiver. The body is objectified superimposes reality. and made into a machine that processes external information.