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19931997

ISA GENZKEN'S BIOGRAPHY Born in 1948, Bad Oldesloe Lives and works in Berlin, Germany is a contemporary artist who lives and works in Berlin. Her primary media are sculpture and installation, using a wide variety of materials, including concrete, plaster, wood and textile. She also works with photography, video, film and collage. EDUCATION

D端sseldorf Art Academy 1993-1975 Studied Art History and Philosophy at the University of Cologne 1971-1973 Berlin University of Fine Arts 1969-1971 Hamburg College of Fine Arts


MAIN EXHIBITIONS 1976 First Solo - Galerie Konrad Fischer, Düsseldorf, Germany 1986 First Exhibition - Galerie Galerie Buchholz 1989 First solo show in the U.S. Jack Shainman, New York, NY 2007 Genkzen represented Germany - LII Esposizione Internazionale d’Arte, La Biennale di Venezia, German

Pavilion, Venice, Italy 2009 Sesam, öffne Dich!, Museum Ludwig Köln, Cologne, Germany (Travelling Exhibition) 2013-2014 RETROSPECTIVE - Hauser & Wirth London, England MoMA Museum of Modern Art, New York NY

PUBLICATIONS


Rose II l 2007 l Venice Biennale l originally created in 1993 l Height: 314.96 inches (800 cm) l Stainless steel, aluminum, lacquer l representing the love she have to NYC l Genzken’s first public artwork in the United States

It is the culmination of a practice that explores the way we perceive objects and images through our senses, the implications of scale, and the integration of architecture, nature, and mass culture. The installation of Rose II can be seen as a tribute to a place Genzken continues to 9/11 l Ground Zero l representing the post-apocalyptic devastation and confusión l painted in a plane window l 2003 l MoMA New York

In The American Room i saw a set of assemblages

that

pokes fun at material culture, capitalism, and nationalism in the United

States-

and

Empire/Vampire:

Who

Kills

Death-

assemblages paired with a film that act as commentary on the American presence of Iraq- are examples of this. Originally comprising more than twenty sculptures that were created following the attacks of September 11, are combinations of found objects action figures, plastic vessels, and various elements of consumer detritus – arranged on pedestals in architecturally inspired, post-destruction scenes These proposals take the form of architecturally induced sculptures produced in consultation with a specialist team of engineers to ensure that each model can be realised to the approximate scale of the World Trade Towers. Isa has a social purpose, to make an echo in the emotions of the people in a poetical, colorful and a dramatical way while creating magically beautiful objects. Isa Genzken, Säulen Mixed media l 320 x 19 x 24 cm/ 320 x 20 x 24 cm/ 320 x 27 x 27 cm l 2000 l MoMA New York l plastic, toys, kitch ornaments.

Why would a welleducated young artist want to emulate the historic gesture of a different generation? “Everyone needs at least one window.” By 2000, she was making the kitschy assemblage sculpture. where she presented wildly ornate and hilariously wacky assemblages as models for new buildings in New York. Pizza boxes, wire mesh, mirrors,


flower petals, light shades and sea shells were just some of the materials Genzken used to create these amazing visionary structure

Isa Genkzen is an artist because her artworks have an interpretative approach and a perceptive approach. I will begin with analizing the aesthetic, the aesthethis is not intended to be that something is beautiful, but also emotional and intelectual, with the artwork of Isa Genkzen we can see both of these qualities, when we can feel and analyze the art of Isa we can approach to a sentiment,, in every single artwork we can see a social impact, and a sense of community, like in Rose II that is interacting with the space, with the architecture and with the audience that is amazed with this gigantic flower, also in Ground Zero exhibition the one of 9/11, in this exhibition we can see : sentiments, affection and identity these crĂŠate an aesthetic experience. In other words aesthetic goes with art because of their meaning not because of their beauty, and with this we have the interpretative approach. But if we continue analysing we can also relate this artworks

with simulacra

in the

exhibiton of Ground Zero simulacra is implicit, how can we approach this art without remembering all that information that the televisiĂłn, the radio, the

internet

had

implantedin our minds, Isa believe in simulacra, but how i know? Because she reproduce it, is a replacement of reality, we dont know if this has a political background but what we saw in that exhibition is that there are many critisism to the capitalism because we can see brands like coca cola but with a colorful bloody-painting,is a reflection of how humanity but in specific how American Society can create an spectacle of consumption. We can also relate the exhibiton of Fuck the Bauhaus or in other words stay away from insitutions with BĂźnde because of the uniqueness of the word, but how can this exhibition can be an example of uniqueness? We can say that art is a sinonim of something original something creative but when we study in a school like a Bauhaus is complicated to be creative to be outside the mold, thats why Isa critisize it, the result is: a kistch collage of sculptures, she is talking to Young artists, in order to break the mold and to be creative, respecting the Bauhaus but changing like the art is constantly changing and this is also an aesthetic experience. To conclude: Nowadays we think as a society that the art is dying, like Danto says, but the art have future, the art is living not only in museums but in colectives and in every single artist that have the need to say something to the world. But how can we appreciate


these artworks? We want to give a meaning to every single thing that we are exposed to, but if this “thing” have multiple meanings. The audience nowadays can interprete but also they can feel and they can take part of that artwork. Isa Genkzen is an explample of interpretation and feeling, is the perfect cohesion of these two aspects Her interest lies in the way in which common aesthetic styles come to illustrate and embody political and social ideologies. Genzken creates architectonic structures that have been described as contemporary ruins. She incorporates mirrors and other reflective surfaces to literally draw the viewer into her work, nowadays we are looking through these artworks as a window in which we can reflect as society, the future is a kind of mirror that can only show our own reflection we need to feel more, to see more, to hear more, and to interpret more with the combitnation of all we need to have more erotics of the art. BIBLIOGRAPHY

Rudi H. Fuchs. (1983). Isa Genzken The Contempo art. Rome: PHAIDON. Beatrix Ruf. (2006). Isa Genzken - I Love New York, Crazy City. Germany: MoMA.

Isa GenzkenLaura J Hoptman; Michael Darling; Jeffrey D Grove;. (2013). Retrospective. New York: MoMA. DuMont Buchverlag. Edited by Juliane Joan Rebentisch. Text by Vanessa J. Müller, Nicolaus Schafhausen, Liam Gillick.. (2007). Isa Genzken: Oil. Venice: DUMONT.

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