Inge Mahn

Inge Mahn, Installation view K21 Ständehaus, © VG Bild-Kunst, Bonn 2017, photo: Achim Kukulies

April 01, 2017 – March 31, 2018

The objects created by Inge Mahn (born in Cieszyn in 1943), many of them largeformat, are reduced to simple geometric forms, and betray a certain proximity to Minimalism. The surfaces of these cuboids, arches, spheres, and columns are by no means perfect, but are instead rough, irregular. They are consistently white – this artist’s preferred material being plaster

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Eva Kot´átková

Eva Kot´átková, Installation view K21 Ständehaus, © artist, photo: Achim Kukulies

Room for anxious objects

April 01, 2017 – March 31, 2018

The Czech sculptor Eva Kot´átková (born in Prague in 1982) deploys the exhibition space as a stage. Her stringently scenarized spaces constitute frames for surreal objects and collages.

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Tomás Saraceno

Photo and ©: Studio Saraceno

Tomás Saraceno’s work is driven by a close engagement with biological and physical research, which provides the basis for his utopian architectural projects. A major theme in these works is the study of spider webs.

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Janet Cardiff / George Bures Miller

Janet Cardiff & George Bures Miller, Dark Pool, 1995, Mixed Media, Courtesy the artists, Galerie Barbara Weiss, Berlin, Luhring Augustine, New York

An old wooden door opens onto a kind of study. Disarranged, it is filled with books containing scientific diagrams, essays on paranormal phenomena, and handwritten scribbling. The scene is illuminated by weak light from electric bulbs.

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Christian Boltanski

Christian Boltanski, El Caso, 1988, Installation view at K21, photo: Achim Kukulies, © VG Bild-Kunst, Bonn

Memory, forgetting, and death are central themes for Christian Boltanski. He seeks to erect a memorial to the anonymous dead, to those who have vanished. To this end, he exploits the form of the archive – the place where history is transmitted.

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Franz West

Since the 1970s, Franz West has been developing objects that straddle the border between artworks and articles for everyday use. His prosthetic-like plaster sculptures and his furniture for sitting and reclining act as instruments for a physical and psychological experience. They are generally meant for visitors to use – to experience their own bodies in relation to these objects. His sculptures reflect his focus on psychoanalysis. The work Devianz (›deviance‹) evokes associations with the famous couch as a site of treatment, and in 1996 he described his artworks Paßstücke as »representations of neuroses«. West dismantles art from its pedestal, inviting visitors to let go of their distance, to become active and thus part of the artwork.