December 29, 2011

Per Kirkeby.



Untitled, 1984, Oil on Canvas.
The Ludwig Collection, Cologne, Germany.
Per Kirkeby (born Copenhagen, September 1, 1938) is a Danish painter, poet, filmmaker and sculptor.

December 21, 2011

A.R. PENCK, Ich in Deutschland (West), 1984, Dispersionsfarbe auf Nessel, 600 x 1200 cm

Penck's vision of life in the West.


A.R. PENCK, Me in Germany (West), 1984, Emulsion paint on canvas, 19.69 x 39.37 feet

"Centre stage is a work that Penck painted non-stop in 35 hours. This was prompted by the legendary overview exhibition "von hier aus" which took place in 1984 in Düsseldorf. After-wards it arrived at Museum Ludwig, where it could only rarely be shown on account of its size, which is [almost 20 by 40 feet]. Ich in Deutschland (West) [me in Germany (West)] is the name of this monument from the period shortly after the artist moved to West Ger-many. "I'd been spat out by the East but not yet gobbled up by the West", as he wrote at the time. But the piece is not simply about a society, it's about a whole culture and existing in it, about sex and power, politics and church, life and death - aspects that he joins up with great daring.


It is accompanied by four paintings (Standart - Prä - Standart) [Standard - Pre - Standard] from the nineties and ten less-known felt sculptures from the eighties. The later are conceived of as science-fiction machines, yet they don't look at all angular or technological, but soft and round instead. 


Penck has remained true to himself, his reduction does not constrain anything but follows the gaze of the feeling, suffering, joyous person who is beyond all ideol-ogy."

excerpted from the Museum Ludwig announcement (click here).

A.R. PENCK, Me in Germany (West), 1984, Emulsion paint on canvas, 19.69 x 39.37 feet


A.R. PENCK, (detail) Me in Germany (West), 1984, Emulsion paint on canvas


A.R. PENCK, (detail) Me in Germany (West), 1984, Emulsion paint on canvas


A.R. PENCK, (detail) Me in Germany (West), 1984, Emulsion paint on canvas

A.R. PENCK, (detail) Me in Germany (West), 1984, Emulsion paint on canvas

December 6, 2011

COSIMA VON BONIN’S CUT! CUT! CUT! FOR MUSEUM LUDWIG’S SLOTH SECTION, LOOP # 04 OF THE LAZY SUSAN SERIES, A ROTATING EXHIBITION 2010–2012

Cosima von Bonin’s (*1962) exhibition at the Museum Ludwig is the final chapter of an exhibition series connecting four European cities. Conceived as a work in progress – similar yet totally different in each location -, the cycle began in Rotterdam, continued to unfold in Bristol and then in Geneva.



The cycle ends with a big bang where it all began: in Cologne, the artist’s home base. Cologne thus forms the final “loop” in this circular exhibition concept, as indicated in its title. Lazy Susan is a colloquial term referring to a rotating platter centrally placed on a dining table – and particularly common in Chinese Restaurants – enabling easy access to different dishes. The choice of a household accessory that bears a female name is no coincidence. Just as significant is the idea of laziness, a recurring motif in Cosima von Bonin’s work. 

Installation of Cosima von Bonin's CUT! CUT! CUT! at Museum Ludwig, Oct. 2011

The central new piece of the LAZY SUSAN SERIES, AMATEUR DRAMATICS (2010), was co-produced by the participating institutions and takes the form of the eponymous Lazy Susan: a large rotating disc that looks like a mix between carousel and presentation platform. The artist placed various previously created works from her repertoire on the disc, including the PURPLE SLOTH RABBIT (2010) – a large reclining rabbit figure with the word SLOTH embroidered underneath its feet. With irony and provocation, Cosima von Bonin thus makes laziness – simultaneously a vice and a dream in today’s times in which every minute counts – the leitmotif of an exhibition cycle that has more to do with manic production and hyperactivity than with idleness and indolence.



For the Museum Ludwig’s vast skylight gallery, Bonin created a spectacular installation that is simultaneously a clever exhibition design. Six oversized tables ranging in height from 2.7 to 5.4 meters fill the space and offer various presentation levels, with the table surfaces as well as the space beneath used for display. Here, the artist actively incorporates the special features of this high-ceilinged hall with its suspended gallery into her work, offering the visitor a completely new and unaccustomed viewing perspective. 

Installation of Cosima von Bonin's CUT! CUT! CUT! at Museum Ludwig, Oct. 2011

Across five rooms and various media settings, the exhibition continues to unfold outside the south entrance of the museum, with the monumental TAGEDIEB (2010) a long-nosed – and hence obviously dishonest – Pinocchio sitting on a towering umpire’s chair, acting as both sculpture and streetlight. 


Altogether, the exhibition unites over 70 works, among them numerous new productions and a few rarely exhibited pieces from private Cologne-based collections.  Cosima von Bonin does not focus exclusively on a specific technique or style. 

Installation of Cosima von Bonin's CUT! CUT! CUT! at Museum Ludwig, Oct. 2011
However, she often privileges soft materials and embroidered textiles, which not only summon associations with stereotypical female pastimes, but also express the apparent lassitude of her cast of characters. The artist picks up on a host of references and associations – from Kippenberger to Disney – and mixes them all together, reminiscent of a DJ’s sampling technique.* 


Cosima von Bonin is represented by Friedrich Petzel in New York and Galerie Buchholz in Cologne.
(*the Museum Ludwig Press Release)

December 2, 2011

Let's Active

from Winston-Salem NC
Let's Active
Mitch Easter (vocals/guitar), Faye Hunter (bass), and Sara Romweber (drums)


Waters Part.
from the LP Cypress (1984).
Released on I.R.S. Records.