The material speaks for itself Annette Kelm belongs to a generation of artists whose work in the early 2000s embodied a particular idea: “Political art” does not necessarily have to address or symbolize “content,” that is, opinions, historical facts, or theories, in a realistic way. It can also be abstract and entirely sober, conveying a political or cultural stance without obvious commentary, solely through formal decisions, specific materials, and design. The material and the form speak for themselves.
Everyday and ephemeral objects In her photographic practice, Kelm examines the sociocultural history embedded in objects, design, and industrial products. Through photographs of everyday and ephemeral objects, from books written by victims of Nazi persecution to industrial materials and garments, she reveals how the world of things is shaped by historical, political, and economic forces.
Typologies Her approach is based on formal precision and conceptual rigor. In her work, Kelm is interested in the function of objects and in the way they are represented, in typologies. She often uses series of images featuring individual motifs in order to combine a wide range of artistic, historical, and intercultural references. Jeans Buttons is part of a small series of works that always depicts the same detail of a blue denim jacket. Each work presents a different constellation of historical buttons with political statements attached to the front of the garment: the peace sign, the yin-yang symbol, and political messages such as “Keep Abortion Legal,” “International Women’s Day, 8 March 1975,” “Human Rights,” or “Have a Gay Day.”
Absorbed by mass culture The series has a nostalgic quality, much like the buttons themselves, which evoke the hippie era and the women’s rights, peace, and gay rights movements. Yet through their combination and repetition, a sense of distance also emerges—a kind of disillusionment, almost approaching banality. Jeans Buttons reminds us of the importance of activist gestures in everyday life. At the same time, it points to how these gestures were absorbed and marketed by mass culture as expressions of lifestyle and identity, while the hard-won rights of the past are once again being rolled back with the rise of authoritarian systems.
Information
The material speaks for itself
Annette Kelm belongs to a generation of artists whose work in the early 2000s embodied a particular idea: “Political art” does not necessarily have to address or symbolize “content,” that is, opinions, historical facts, or theories, in a realistic way. It can also be abstract and entirely sober, conveying a political or cultural stance without obvious commentary, solely through formal decisions, specific materials, and design. The material and the form speak for themselves.
Everyday and ephemeral objects
In her photographic practice, Kelm examines the sociocultural history embedded in objects, design, and industrial products. Through photographs of everyday and ephemeral objects, from books written by victims of Nazi persecution to industrial materials and garments, she reveals how the world of things is shaped by historical, political, and economic forces.
Typologies
Her approach is based on formal precision and conceptual rigor. In her work, Kelm is interested in the function of objects and in the way they are represented, in typologies. She often uses series of images featuring individual motifs in order to combine a wide range of artistic, historical, and intercultural references.
Jeans Buttons is part of a small series of works that always depicts the same detail of a blue denim jacket. Each work presents a different constellation of historical buttons with political statements attached to the front of the garment: the peace sign, the yin-yang symbol, and political messages such as “Keep Abortion Legal,” “International Women’s Day, 8 March 1975,” “Human Rights,” or “Have a Gay Day.”
Absorbed by mass culture
The series has a nostalgic quality, much like the buttons themselves, which evoke the hippie era and the women’s rights, peace, and gay rights movements. Yet through their combination and repetition, a sense of distance also emerges—a kind of disillusionment, almost approaching banality. Jeans Buttons reminds us of the importance of activist gestures in everyday life. At the same time, it points to how these gestures were absorbed and marketed by mass culture as expressions of lifestyle and identity, while the hard-won rights of the past are once again being rolled back with the rise of authoritarian systems.
Audio
Note: The audio transcription is voiced by an AI.
Annette Kelm, Jeans Buttons, 2023
Photograph
© Annette Kelm. Courtesy Esther Schipper, Berlin/Paris/Seoul. Photo: Roman März
Sammlung Deutsche Bank
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Intro into the exhibition
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Intro into the exhibition
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Lawrence Weiner, THE GRACE OF GESTURE, 2010
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On Kawara, JUNE 1, 1967, 1967
Chapter: wordsearch - Concept and Poetry
Karin Sander, wordsearch, 2002
103
Karin Sander, wordsearch, 2002
Chapter: wordsearch - Concept and Poetry
Etel Adnan, The Linden Tree Poems, 2019
104
Etel Adnan, The Linden Tree Poems, 2019
Chapter: wordsearch - Concept and Poetry
Natalie Czech, A poem by Repetition by Emmett Williams, 2013
105
Natalie Czech, A poem by Repetition by Emmett Williams, 2013
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Herta Müller, Paper Collages, 2012
106
Herta Müller, Paper Collages, 2012
Chapter: wordsearch - Concept and Poetry
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107
Marcel Dzama, Ulysses, 2009
Chapter: Ulysses - Narration and Identity
Claudia Comte, Cecilia (interview painting), 2021
108
Claudia Comte, Cecilia (interview painting), 2021
Chapter: Ulysses - Narration and Identity
Slavs and Tatars, Molla Nasreddin the antimodern, 2012
109
Slavs and Tatars, Molla Nasreddin the antimodern, 2012
Chapter: Ulysses - Narration and Identity
Yinka Shonibare CBE, The African Library Collection (Poets), 2022
110
Yinka Shonibare CBE, The African Library Collection (Poets), 2022
Chapter: Ulysses - Narration and Identity
Larissa Fassler, Regent Street/Regent's Park (Dickens thought it looked like a racetrack), 2009
111
Larissa Fassler, Regent Street/Regent's Park (Dickens thought it looked like a racetrack), 2009
Chapter: Map of Utopia - History, Cartography, Worlds Design
Joseph Beuys, Initiation Gauloise, 1976
112
Joseph Beuys, Initiation Gauloise, 1976
Chapter: Map of Utopia - History, Cartography, Worlds Design
Qiu Zhijie, 24 World Maps, 2015-2017
113
Qiu Zhijie, 24 World Maps, 2015-2017
Chapter: Map of Utopia - History, Cartography, Worlds Design
Agathe Snow, Walls, 2010
114
Agathe Snow, Walls, 2010
Chapter: Map of Utopia - History, Cartography, Worlds Design
William Kentridge, Anti-Mercator, 2010-2011 & Untitled, Drawing for Black Box / Chambre Noire, 2005
115
William Kentridge, Anti-Mercator, 2010-2011 & Untitled, Drawing for Black Box / Chambre Noire, 2005
Chapter: Map of Utopia - History, Cartography, Worlds Design
Meschac Gaba, Museum of Contemporary African Art in Berlin, 2014
116
Meschac Gaba, Museum of Contemporary African Art in Berlin, 2014
Chapter: Map of Utopia - History, Cartography, Worlds Design
Wong Hoy Cheong, Study for Colonies Bite Back, 2001
117
Wong Hoy Cheong, Study for Colonies Bite Back, 2001
Chapter: Map of Utopia - History, Cartography, Worlds Design
Ellen Gallagher, La Chinoise, 2008
118
Ellen Gallagher, La Chinoise, 2008
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120
Mounira Al Solh, His Funeral, Our Funeral, Their Funeral, 2023
Chapter: Home of My Eyes - Home and Exile
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121
Shirin Neshat, Home of My Eyes, 2015
Chapter: Home of My Eyes - Home and Exile
Viviane Sassen, Code/Blue, 2019
122
Viviane Sassen, Code/Blue, 2019
Chapter: Small Right Hand Down - Democracy and Freedom
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123
Jenny Holzer, Redaction Paintings, 2005-2008
Chapter: Small Right Hand Down - Democracy and Freedom
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126
Mounira Al Solh, Sama'/Ma'as (Ba'ath), 2014
Chapter: Seelenfenster - Gesture, Movement, Cipher
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127
Charles Hossein Zenderoudi, Chucavira, 1985
Chapter: Seelenfenster - Gesture, Movement, Cipher
Siah Armajani, Panje Tan, 1960
128
Siah Armajani, Panje Tan, 1960
Chapter: Seelenfenster - Gesture, Movement, Cipher
Ahmed Mater, Sajdah Illumination, 2009
130
Ahmed Mater, Sajdah Illumination, 2009
Chapter: Seelenfenster - Gesture, Movement, Cipher
Imi Knoebel, Pencil drawings, untitled, 1972
131
Imi Knoebel, Pencil drawings, untitled, 1972
Chapter: Seelenfenster - Gesture, Movement, Cipher
Yūichi Inoue, TORI, 1976
132
Yūichi Inoue, TORI, 1976
Chapter: Seelenfenster - Gesture, Movement, Cipher
Yang Jiechang, 100 Layers of Ink, 1992-1994
133
Yang Jiechang, 100 Layers of Ink, 1992-1994
Chapter: Seelenfenster - Gesture, Movement, Cipher
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134
Rebecca Horn, Seelenfenster (Painting with Sculpture “Zimbel Zen”), 2012
Chapter: Seelenfenster - Gesture, Movement, Cipher
Shiryū Morita, KI (JU), 1989
135
Shiryū Morita, KI (JU), 1989
Chapter: Seelenfenster - Gesture, Movement, Cipher