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Articles by Talia Kwartler
Bruce Nauman
Bruce Nauman, 3 wax fish, bronze fish, hammer handle, 2024, wax, bronze, wire, hammer handle, tape, string, overall dimensions 34 × 22 × 22″. For his twentieth exhibition with Konrad Fischer Galerie, Bruce Nauman turned his own history into the subject for new work.
“Arte Povera”
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Collage logic in Max Ernst’s ‘Woman, old man and flower’ (1923-24)
Ayuda Buscar en la ayuda Buscar en la ayuda
Talia Kwartler on Hannah Höch
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Reconstructing Kathrin Sonntag’s and Gabriele Münter’s Critical Lens
‘Kathrin Sonntag and Gabriele Münter: The Travelling Eye’ presents two German artists, both born in Berlin, yet a century apart. While Sonntag is known primarily for her photography, Münter is widely recognized for her association with the German expressionist group Der Blaue Reiter. Far more attention has been given to Münter’s paintings, but it is her photographs that form the focus of this exhibition, curated by Sonntag alongside her own work.
Talia Kwartler on Nancy Holt
“Nancy Holt: Circles of Light” explores works the artist made between 1966 and 1988, focusing on her experimentations with circles, light, and perception. Rather than chronicling the broader arc of Holt’s fifty-year career, during which she produced works ranging from concrete poetry and photography to Land art and films, this narrow scope creates a neat framing for Sun Tunnels, 1973–76, Holt’s major work, permanently installed in the desert in Utah.
Sarah Brahim Dances Into the Present
Occupying Villa Heleneum – the former residence of Parisian dancer Hélène Biber – the Bally Foundation provides an ideal setting for ‘Sarah Brahim: Sometimes We Are Eternal’, an exhibition that emphasizes the corporeality of movement and its connection to memory through a series of multi-channel videos, installations and photographs featuring the artist alongside collaborators and family members.
The Enduring Performance Behind Edita Schubert’s Perforated Canvases
Can a performance endure within a painting? This question circles around Edita Schubert’s ‘Self-Portrait Behind a PerforatedCanvas’at Galerie Molitor. It is the first solo exhibition in Germany dedicated to the artist, who exhibited mainly in her native Croatia before she died in 2001. The presentation features a selection of Schubert’s cut-out canvases from the 1970s, as well as photographs in which she activates these works.
“Future Bodies from a Recent Past—Sculpture, Technology, and the Body Since the 1950s” at Museum Brandhorst
Munich Museum Brandhorst Kunstareal Theresienstrasse 35a June 2, 2022–January 15, 2023 What makes the body a hybrid material for sculpture? In “Future Bodies,” Patrizia Dander and Franziska Linhardt explore this question through the relation between art and technology. Their transgenerational selection of nearly sixty postwar artists, more than half of them women, reinvigorates ideas about the position of sculpture within art history.
Suzanne Duchamp's Readymade Paintings
Abstract Suzanne Duchamp pushed the boundaries of painting by incorporating unorthodox, machine-made materials within interconnected material geometries. Focusing on Un et une menacés (1916), Radiation de deux seuls éloignés (1916–20), and Le Readymade Malheureux de Marcel (1920), this article describes Duchamp’s particular way of integrating readymades into her artwork and reveals her ability to transform modern, store-bought elements into interwoven pictorial structures.
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