A crown can confer power or equally deceive. In Max Beckmann'sKing and Demagogue (König und Demagoge) (1946), it sits in the head of a bewildered ruler, while behind him the rabble-rouser seizes control. In contrast, on Nancy Lupo'sUntitled (2023), a series of golden paper crowns winds spirally across the floor - a symbol of rule, consumption, and an endless loop of promises and decay.
Rachel Whiteread, too, addresses acts of disappearance. Her photographic series Demolished (1996) documents the demilition of a residential buildings in London - a ghostly testimony to urban transformation. Heidi Bucher'sRepertory (1988) is another form of preservation. It is part of a series of latex casts for which the artist molded walls, windows, and floors, thus uncovering the layers of history.
Martin Kippenberger similarly repeatedly appropriated other spaces for his work. Hotels became temporary studios, places of transit where he left traces, including the drawing No problem - no problème (1986). Lena Henke transfers the question of appropriation to the city: in City Lights (Dead Horse Bay) (2016), a surreal model of Manhattan, she interrogates how power and control are exercised through the physical design of space.
Information
Max Beckmann, King and Demagogue (König und Demagoge), 1946
rechtefrei
Nancy Lupo, Untitled, 2023
© Nancy Lupo, Courtesy by VEDA
Rachel Whiteread, Demolished, 1996
© Rachel Whiteread + Paragon | Contemporary Editions LTD
Heidi Bucher, Repertory, 1988
Courtesy The Estate of Heid Bucher and Mendes Wood DM, São Paulo, Brussels, Paris, New York
Martin Kippenberger, No problem - no problème, 1986
© Estate of Martin Kippenberger, Galerie Gisela Capitain, Cologne
Lena Henke, City Lights (Dead Horse Bay), 2016
© Courtesy of the artist, Layr Vienna & Sammlung Stadler
Audioguide Link
A crown can confer power or equally deceive. In Max Beckmann's King and Demagogue (König und Demagoge) (1946), it sits in the head of a bewildered ruler, while behind him the rabble-rouser seizes control. In contrast, on Nancy Lupo's Untitled (2023), a series of golden paper crowns winds spirally across the floor - a symbol of rule, consumption, and an endless loop of promises and decay.
Rachel Whiteread, too, addresses acts of disappearance. Her photographic series Demolished (1996) documents the demilition of a residential buildings in London - a ghostly testimony to urban transformation. Heidi Bucher's Repertory (1988) is another form of preservation. It is part of a series of latex casts for which the artist molded walls, windows, and floors, thus uncovering the layers of history.
Martin Kippenberger similarly repeatedly appropriated other spaces for his work. Hotels became temporary studios, places of transit where he left traces, including the drawing No problem - no problème (1986). Lena Henke transfers the question of appropriation to the city: in City Lights (Dead Horse Bay) (2016), a surreal model of Manhattan, she interrogates how power and control are exercised through the physical design of space.
Further artworks from this exhibition
Introduction of the exhibition
It's Just a Matter of Time
Julian Irlinger, James Gregory Atkinson, Philippe Parreno, Petrit Haliaj
Rotunda
Shilpa Gupta
Room 1
Cildo Meireles, Wisrah Celestino, Kai Althoff, Kandis Williams
Transition Room 2 to Room 3
Felix Gonzales-Torres, George Tony Stoll, Manfred Paul, Julia Phillips, Shilpa Gupta
Room 3
Cornelia Schleime, Marianne Berenhaut, Christo, Rosemarie Trockel, Latifa Echakhch
Room 4