The “play with art”
“Fredrik Svensk see the Rosemarie Trockel at the museum of Modern art in Malmo”
“ART It looks like a group show, a fine composed. 40 works, some of photomontage, a few monochrome textiles, drawings, a couple of videos. At the same time, is the impression closest to the non-professional, as if a design firm or algorithm copied a group exhibition. But what we have to do with are a part of what Rosemarie Trockel devoted the last 30 years.”
“Her work breaks completely with the rigid division between art and crafts, reproductive domestic work, industrial work and artistic work. This has entered her in a feminist tradition that at the beginning of her career differed radically from the male-coded abstract painting that dominated in Cologne, a large arts centre at the time of the Trockels breakthrough for more than 30 years ago.”
“In Malmö, it is clear that her strength lies precisely in the diversity and installationsformen, and in all the countless ways she plays with art history and its exterior. Fotomontaget Cluster 3 – Death, so adjustable along with one of the museum’s walls is one of the many roads in his oeuvre. Here she is playing, in a diversity of seemingly completely different types of images, not only with the nekropolitik those who hunted the art in eternity, but also with the calculation and documentation of the earlier work in a form that mimics both the artist as an installer, a la Wolfgang Tillmans and the Google image search.”
“nFotografiet which has lent its name to the exhibition called The same different and is of one of her textilverk. This uncertainty about what really is the center, origin, or direction in Trockels art, I think, can be understood in relation to the society in which she acted in.”
“Time and platsmässigt hangs her art together with the visual breakthroughs, and all who felt the smart of the postmodern a-kurskunskap. She grew up in west Germany – the first nation-state which is entirely based on economic growth and productivity – and breaking through at the end of the cold war. This is the same time that national economies, and in particular the media, the economy, bolagiseras, deregulated and diversified, for in the day have been captured by giants like Google, Facebook, etc Companies that seemingly steered up a chaotic medieoffentlighet, but which is nourished by the ability to create bubbles of security. “
“by virtue of the visual aspect of the capital today spelled abound, so pointing Trockels work against a different response to the accelerated chaos of information that flows through our bodies. Her art receives the soft, with the help of a both feminist and postminimalistisk the history of art, without getting caught up in a new single object, or let the gallery transformed into fetish.”
“It is a prudent response to the depression that originates from uppmärksamhetsmarknadens incitement. This turns Trockel art room to an alternative to the social media companies ways to beat the coin of abundance through self-affirmation bubbles. The difference is that Trockels intricate network of things that are presented in a public exhibition on the state authority the museum of Modern art carries on the utopian idea that it is for all. Something the web has long since abandoned.”
“” Rosemarie Trockel: It is equally different.”
