“Green” or “Pink-Washing” refers to the allegation that a company decorate with the feathers of progressive policy. A nice correlation can be found in the art of Silke Radenhausen: you pour your signal color directly into the detergent compartment. Washing your screens colorful and mends from you with great Ornament-together panels. The panels imitate foreign styles and cultures, and boosted, deceptive peacock wheels are.
Radenhausen is one of 31 artists, who gathered the “Daimler Art Collection,” in the Berliner Haus Huth. Until the re-opening last Friday 31: the Women had been shown only for a few days in March. The first opening took place actually, but in 1943, as the famous example of Marcel Duchamp and Peggy Guggenheim curated an exhibition that brought in New York, 31 artists into the spotlight was. At that time, a small Revolution, have become debates about identity, since rather complex. Maybe it was to avoid the accusation of whitewashing that Daimler put more money in the Hand and the year has been dedicated to 2020, specifically black and African artists. Thanks to the recent new acquisitions, Zanele Muholi, Nnenna Okore, Berni Searle, Lerato Shadi and Adejoke Tugbiyele could be in the group of 31 included Duchamp’s concept has arrived in the present.
Thus, the featured artists are now from sixteen countries, are born between 1899 and 1979, and various materials make use of. Many of the references are managed, Anni Albers, for example, is in the best company: she took to her Left, the Chilean Amalia Valdés, the Albers Geometry teacher took to the stairs to your Right the Israeli artist Ilit Azoulay, whose digital-mounted Bauhaus you as a student. On the alternative, with a carpet lined, and land exchanges at the end of a piece of furniture by Andrea Zittel, we can continue to be subversive Performance to watch Videos of Andrea Fraser. In many Places an “inherent logic”, like Duchamp, you wish from the exhibitions is shown. You can read exactly because his curatorial work has been researched by the curator in his footsteps, Renate Wiehager, for an accompanying publication.
at the same time Duchamp was a sworn enemy of museums and other institutions. He would have wanted really, that in his name, a Canon of 31 women is formed (in the case of him, the number was random) and that the number 32, which already existed, the idea of the victim? With the preceding Headings are all the classified deuterated in addition, in bite-sized groups. “Hybrid, Transcultural and Redesigns” is the category in which the African artists meet together, this seems to be a bit forced.
In the spell of art, which he guarded
A tribute to Duchamp will be sorted as a curator might also be different. Maybe by dice, or by Alphabet hanged. Surrealist refractions and obstructions in the exhibition space – children playing, free threads, or tiny peep-holes, from which dislocates the head – were his medium of choice, to sprinkle Sand into the art gear. Haus Huth Isabell widely used Heimerdinger perfume billows from a different time and behind the geek feminism at the other plants. An even stronger attack to the senses but, as Duchamp with carbon, a whole exhibition bags darkened. Not the Mouth guard, but the flashlight was at the time, the companion with black dust trickled to the fine guests.
at Least the dust in the current Display speed. The self-portrait “In the wake of” (2014) of the South African Berni Searle is lying in profile, coal dust covered her Nude, larger body, but could also be hatched out, as ethereal as it seems to this photo. A security man who has the Lockdown on his first day of work, remains awesome in front of it. “Black magic,” he says enthusiastically. The art historian Kathrin Hatesaul of Daimler explained to him that it was a Christ-motif à la Holbein, at the same time a criticism of capitalism, because the artist’s bright, contrasting gold coins slipping through your fingers. He, however, does not apply, for a while it goes between the two Men and forth.
