This page contains a Flash digital edition of a book.
reviews ISA GENZKEN
isA Genzken: we Are Here in DresDen
ZwINGEr MuSEuM, DrESDEN
26 SEptEM bEr – 13 JANuAry
e
h
c
i
l
t
a
a
t
S

:
o
t n
o o
h d
p n
o
. L
e
l ,
b h
a t
i r
r i
a w
v
&
s
n r
o e
i s
s u
n a
e H
m
i y
d s
e
, t
a r
i u
d o
e C
m
.
d d
e n
x a
i l
m r
e
, z
) t
w i
e w
i S
v
,
n n
o o
i i
t t
a c
l e
l l
a l
t o
s c
n
i e
( t
a
4 v
0 i
0 r
2 p

, .
s n
l e
e d
g s
n e
A r
D
d
n n
a e
g
r n
e u
i l
e m
p m
s a
r s
e t
s s
s n
a u
W K
Behind Isa Genzken’s latest show lies one of the knottier problems of art: To find your way around Genzken’s psychogeography, you’re given
how do you avenge the murder of a city? If that isn’t taxing enough, the an American roadmap. There’s US high culture – Wasserspeier and Angels’s
exhibition throws another question at you: where do you seek redress for metal-tiled floor is a Carl Andre, the paint splatters linking its plinths and
the enslavement of a culture? How do you balance the books? towers little Jackson Pollocks – and, seamlessly, there is US low culture:
In Genzken’s case, the answer to both is in an installation called stuffed crocodiles, plastic wrap, slot machines, an outsize wineglass. The
Wir sind hier in Dresden (We Are Here in Dresden), the sculpture wing of junky disposability of Genzken’s art, its ability to roll on castors, is what it’s
that city’s Zwinger Museum being the setting for her show. The Zwinger, about. It’s how we are today, and frankly, it’s not very nice.
notoriously, was destroyed by Allied bombing in February 1945, weeks Lest Genzken’s politics elude you, The American Room, smelling
before the end of a war already won. With it went the rest of Dresden strongly of Gary Hill, features Donald Duck’s Uncle Scrooge conducting
and tens of thousands of lives, in the needless incineration of a pointless an auction in which he vigorously sells off the ruins of America: golden
target. Whichever way you cut it, you can’t see the rebuilt view from the eagles reduced to Franklin Mint kitsch, nuclear umbrellas in tatters, a post-
Skulpturensammlung’s windows without taking it as context; without Katrina, post-9/11 populace shooting up and sleeping rough. Genzken
reading Genzken’s show as a writing of history. clearly does not subscribe to the maxim of not kicking a man when he’s
Surprising, then, that the linked installations in that show – works down, although, given Dresden, why should she? Her show seems oddly
called Wasserspeier and Angels and Der amerikanische Raum (The American dated, as though Brecht and Weill are hiding around the corner whistling
Room) (both works 2004) – were made for Venice rather than for Dresden, un-American things about whisky and knives. But then the tale she tells
and that the etiolated cones of the first refer not to Dresden’s cathedral but – Genzken was born in 1948 – sets out to be both old and new. It is the story
Köln’s. Genzken, too, has been doing a spot of rebuilding, constructing a of the fall of empires and Reichs, of the morbid inevitability of all history
history that is less local than worldly. Which is to say American, her post- everywhere. Some things never change, wherever you see them.
Dresden world being a US imperium. Charles Darwent
125 Artreview
FEB_REVIEWS.indd 125 7/1/08 09:29:16
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142
Produced with Yudu - www.yudu.com