The works gathered here address questions of visibility, making absences tangible, and highlighting strategies of resistance. The blue, transparent curtains of Felix Gonzalez-Torres'"Untitled" (Loverboy) (1989) in front of the windows blur the boundary between public and private space while also referencing the queer method of opacity.
The row of chairs with abandoned jackets placed in front of it, Georges Tony Stoll'sALLES ! TOUS ASSIS ! (1999/2025), recalls the victims of the AIDS epidemic who are no longer with us, as well as the societal stigmatization of those affected by institutional barriers.
Manfred Paul's portraited Danny (1984) is a testimony to young culture in the GDR. The photographer portraut young people who often met in the mid 1980s in the Operncafé, a subcultural refuge in today's PalaisPopulaire.
Shilpa Gupta'sEye Test (2008) plays with the familiar form of an eye chart, but instead of clear statements, distorted words appear. These distortions reflect uncertainty and the manipulation of perception in times of political upheaval.
Julia Phillips' sculpture Attachment V, Flexible with Quick Release (2024) builds in this, exploring the physical and metaphorical separation of individuals from social structures.
Home
Information
Felix Gonzalez-Torres, "Untitled" (Loverboy), 1989
© Estate Felix Gonzalez-Torres, Courtesy of The Felix Gonzalez-Torres Foundation
Georges Tony Stoll, ALLES ! TOUS ASSIS !, 1999/2025
© Courtesy of the artist and Galerie Poggy, Paris
Manfred Paul, Danny, aus der Serie: Disco-Portraits, 1984
© Manfred Paul, Courtey by LOOCK Galerie
Shilpa Gupta, Eye Test, 2008
© Shilpa Gupta
Julia Phillips, sculpture Attachment V, Flexible with Quick Release, 2024
© Julia Phillips, Courtesy Matthew Marks Gallery
Audioguide Link
The works gathered here address questions of visibility, making absences tangible, and highlighting strategies of resistance. The blue, transparent curtains of Felix Gonzalez-Torres' "Untitled" (Loverboy) (1989) in front of the windows blur the boundary between public and private space while also referencing the queer method of opacity.
The row of chairs with abandoned jackets placed in front of it, Georges Tony Stoll's ALLES ! TOUS ASSIS ! (1999/2025), recalls the victims of the AIDS epidemic who are no longer with us, as well as the societal stigmatization of those affected by institutional barriers.
Manfred Paul's portraited Danny (1984) is a testimony to young culture in the GDR. The photographer portraut young people who often met in the mid 1980s in the Operncafé, a subcultural refuge in today's PalaisPopulaire.
Shilpa Gupta's Eye Test (2008) plays with the familiar form of an eye chart, but instead of clear statements, distorted words appear. These distortions reflect uncertainty and the manipulation of perception in times of political upheaval.
Julia Phillips' sculpture Attachment V, Flexible with Quick Release (2024) builds in this, exploring the physical and metaphorical separation of individuals from social structures.
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
Max Beckmann, Lena Henke, Nancy Lupo, Heidi Bucher, Martin Kippenberger, Rachel Whiteread
Room 2
Cildo Meireles, Wisrah Celestino, Kai Althoff, Kandis Williams
Transition Room 2 to Room 3
Cornelia Schleime, Marianne Berenhaut, Christo, Rosemarie Trockel, Latifa Echakhch
Room 4