Isa Genzken

Isa Genzken
Isa Genzken (2009)
Born	1948 Bad Oldesloe, Schleswig-Holstein, Germany
Training	Hamburg University of Fine Arts and Berlin University of the Arts

Isa Genzken (born 1948, Bad Oldesloe, Schleswig-Holstein) 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. ^[1]

Early life and Education

Hanne-Rose^[2] "Isa" Genzken (pronounced EE-sa GENZ-ken) was raised mostly in the small northern German city of Bad Oldesloe^[3] and in Hamburg.^[4] She studied fine arts and art history with Almir Mavignier and Kai Sudeck^[5] at the Hamburg University of Fine Arts^[6] (1968^[7]–1971) and the Berlin University of the Arts (1971–1973). To pay her tuition, Genzken worked part-time as a model.^[8][9] In 1973 she transferred to Arts Academy Düsseldorf, while also studying art history and philosophy at the University of Cologne.^[10] At the academy, fellow students included artists Katharina Fritsch and Thomas Struth.^[11]

Upon graduating in 1977, Genzken taught sculpture at the academy. She married German visual artist Gerhard Richter in 1982 and moved to Cologne in 1983. The couple separated in 1993.^[12]

For much of her career Genzken has worked alone, in studios in Düsseldorf, Cologne (designed in 1993 by architect Frank Tebroke),^[13] Berlin, and for short stretches in the United States, in Lower Manhattan and Hoboken, New Jersey.^[14] In 1996,^[15] after her divorce from Richter, she moved from the Rhineland region back to Berlin. Genzken has bipolar disorder^[16] and goes through manic and depressive phases, and she has frequently undergone treatment for substance abuse.^[17]

Work

Rose (1993), in front of Leipziger Messe, Leipzig, Germany. Foto: Christoph Müller

Spiegel (1991), Bielefeld, Germay

Although Isa Genzken's primary focus is sculpture, she uses various media including photography, film, video, works on paper and canvas, collages, and books. Her diverse practice draws on the legacies of Constructivism and Minimalism and often involves a critical, open dialogue with Modernist architecture and contemporary visual and material culture. Using plaster, cement, building samples, photographs, and bric-a-brac, Genzken creates architectonic structures that have been described as contemporary ruins. She further incorporates mirrors and other reflective surfaces to literally draw the viewer into her work. The column is a recurring motif for Genzken, a “pure” architectural trope on which to explore relationships between “high art” and the mass-produced products of popular culture.^[18]

In the 1970s, Genzken began working with wood that she carved into unusual geometric shapes.^[19] In the photographs of her Hi-Fi-Serie (1979), she reproduced advertisements for stereo phonographs.^[20]

In 1980, Genzken and Gerhard Richter were commissioned to design the König-Heinrich-Platz underground station in Duisburg; it was only completed in 1992. Between 1986 and 1992, Genzken conceived her series of plaster and concrete sculptures to investigate architecture. These sculptures consist of sequentially poured and stacked slabs of concrete featuring rough openings, windows and interiors.^[21] A later series consists of other architectural or interior design quotations made from epoxy resin casts, such as column or lamp sculptures.^[22] In 1986, Genzken's architectural references switched from the 1910s, 20s and 30rd to the 1950s, 60s and 70s.^[23] In 1990 she installed a steel frame, Camera (1990) on a Brussels gallery’s rooftop, offering a view of the city below.^[24] In 2000, a series of rather roughly patched together architectural models was inscribed with Fuck the Bauhaus. Later, in the series New Buildings for Berlin, which was shown at Documenta 11, Genzken designed architectural visions of glass high-rises.

The project entitled Der Spiegel 1989-1991 is a series of images comprising 121 reproductions of black and white photographs selected and cut from German newsweekly Der Spiegel. Presented in a non-sequential but methodical manner, each image is glued against a piece of white card and individually mounted in a simple frame. Whilst the images themselves remain caption-less, the dates in the series' titles offer clues about the artist's intentions.^[25]

Her paintings of suspended hoops, collectively entitled MLR (More Light Research) (1992), recall gymnastics apparatus caught mid-swing and frozen in time.^[26]

Starting in 1995, while in New York for several months, Genzken created a three-volume collage book entitled I Love New York, Crazy City (1995–1996),^[27] a compendium of souvenirs from her various stays in the city, including photographs of Midtown's architecture, snapshots, maps, hotel bills, nightclub flyers, concert tickets, among others.^[28]

One of Genzken's best known works, Rose (1993/7), is a public sculpture of a single long-stemmed rose made from enamelled stainless steel that towers eight metres above Leipzig’s museum district. The artist's first public artwork in the United States, her replica Rose II (2007) was installed outside the New Museum as part of a year-long rotating installation in November 2010.^[29]

Genzken has also produced numerous films, including Zwei Frauen im Gefecht, 1974, Chicago Drive, 1992,^[30] Meine Großeltern im Bayerischen Wald, 1992, and the video Empire/Vampire, Who Kills Death, 2003.

Since the end of the second half of the 1990s, Genzken has been conceptualizing sculptures and panel paintings in the shape of a bricolage of materials taken from DIY stores and from photographs and newspaper clippings.^[31] She often uses materials that underline the temporary character of her works. As part of her deep-set interest in urban space, she also arranges complex, and often disquieting, installations with mannequins, dolls, photographs, and an array of found objects. New Buildings for New York are assembled from found scraps of plastic, metal and pizza-box cardboard.^[32] The assemblages from the Empire/Vampire, Who Kills Death series, 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.^[33] Elefant (2006) is a column of cascading vertical blinds festooned with plastic tubes, foil, artificial flowers, fabric and some tiny toy soldiers and Indians.^[34] For her installation Oil, the artist transformed the German Pavilion at the 2007 Venice Biennale into a futuristic and morbid Gesamtkunstwerk.

Rose II

Teaching

Genzken served as a Guest Professor at Berlin University of the Arts (1990) and at Städelschule, Frankfurt (1991–92).^[35]

Exhibitions

Genzken’s first solo exhibition was held in 1976 at the Konrad Fischer Gallery in Düsseldorf, and her first solo show in the U.S. was mounted by Jack Shainman Gallery, New York, in 1989.^[36] Genzken represented Germany at the Venice Biennale in 2007. In 2003, she had already participated in the Venice Biennale and, in 2002, Documenta 11 in Kassel, Germany. She was the subject of a major retrospective in 2009, jointly organized by the Museum Ludwig, Cologne and the Whitechapel Art Gallery, London. Other solo exhibitions in the past decade include Malmö Konsthall, Sweden (2008); the Camden Arts Centre, London (2006); the Photographers' Gallery, London (2005); the Kunsthalle Zürich (2003); and the Lenbachhaus, Munich (2003). Artist Dan Graham included Genzken's work in his "Deep Comedy" show at Marian Goodman Gallery, New York, in 2008.^[37] Her recent shows included collaborative work with Kai Althoff^[38] and Wolfgang Tillmans, in whose exhibition space "Between Bridges" she exhibited in 2008. She is the subject of Elizabeth Peyton's painting Isa (Isa Genzken 1980) (2010).

Genzken is represented by David Zwirner, New York; Galerie Daniel Buchholz, Cologne ; Chantal Crousel, Paris; and Hauser & Wirth, London. "Isa Genzken: Retrospective" organized by Sabine Breitwieser, Laura Hoptman, Michael Darling and Jeffrey Grove is on view at the Museum of Modern Art until March 10, 2014; travels to the Museum of Contemporary Art Chicago, and Dallas Museum of Art.^[39]

Collections

Genzken's work is included in the collections of many institutions internationally, including the Museum of Modern Art, New York; Carnegie Museum of Art, Pittsburgh; the Generali Foundation, Vienna; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Kemper Art Museum, St. Louis; the Museum Ludwig, Cologne; the Museum Frieder Burda, Baden-Baden; and the Van Abbemuseum, Eindhoven.

Recognition

The artist won the International Art Prize (Cultural Donation of SSK Munich) in 2004 and the Wolfgang-Hahn-Prize (Museum Ludwig,^[40] Cologne) in 2002.

Isa Genzken.

Isa spending time in New York on September 2005 (photo at right).

Bibliography

• Breitweiser, Sabrina; Diedrich Diedrichsen, Alex Farquharson (2006). Isa Genzken. London: Phaidon. ISBN 978-0714844251.  Cite uses deprecated parameters (help)
• Darling, Michael (2013). Isa Genzken: Retrospective. New York: Museum of Modern Art. ISBN 9780870708862. 
• Genzken, Isa; Benjamin Buchloh, David Bussel (2008). Ground Zero. Göttingen: Steidl. ISBN 9783865217400.  Cite uses deprecated parameters (help)
• Genzken, Isa (2006). Beatrix Ruf, ed. Isa Genzken: I Love New York, Crazy City. Zurich: JRP Ringier. ISBN 9783905701098. 
• Schneider, Christiane (Spring / Summer 2000). "Isa Genzken". Afterall (2). 
• Astrid Wege (2001). "Isa Genzken: The Impossibility of Communication". In Uta Grosenick. Women Artists in the 20th and 21st Century. Köln: Taschen. pp. 150–155. ISBN 3822858544. 

References

External links

• Isa Genzken at David Zwirner
• Selected Press at David Zwirner
• Isa Genzken at Hauser & Wirth
• Isa Genzken on Artnet
• Isa Genzken – Saatchi Gallery
• Galerie Buchholz