Group Exhibition

Ketty La Rocca ranked among the most important proponents of Conceptual and Body Art in Italy in the 1960s and 70s. Based on a visual poetry, she radically dealt with the sociopolitical limits of the meaning of language and images in her collages, performances and photographs. A central aspect is the examination of the bodily gesture as an "original means of communication. The definition of the border between the self and the other as "you" is central to La Rocca's work. La Rocca's typographical sculptures "I" and "Virgole e Punti (Commas and Periods)" transfer this play of identity as "sculptural punctuation" to the real space. 

In Mathilde Rosier's films, performances, installations and paintings, stories are formulated by dance and music. However, sound, bodily gestures and symbolic motifs narrate without words, so that the stories elude rational descriptions. Mathilde Rosier departs from the secure terrain of verbal rationality in her work and moves toward an understanding of the world through bodily experience. Rosier’s works have become known through international exhibitions. 

Inge Mahn is a path-breaking artist of "Social Sculpture". Her work has influenced several generations of young artists. Inge Mahn’s sculptures restate the world of everyday objects as pictorial projections since the 1970s. Her sculptures are based on acute observations of fundamental interpersonal actions and their social context. The materiality of white plaster and the altered scales detach Mahn's motifs from their original functionality. Her works are subversive "gestalts" communicating to the outside what is tacit, excluded, worrying, and weird. Die Schaukel (The Swing), 1978, is one of Inge Mahn's most remarkable pieces of the group of chairs revealing the potential of human interactions. As a playful site of observation, it hangs slightly higher and eludes the "dominating" order "down there". It appears singular, while simultaneously offering one to "take a seat". With the "load" of the second "vis-a-vis", it begins to sway, but ultimately returns to a secure balance.

Natalie Czech's conceptual photography literally "curates" existing images and texts, placing them in a dialogue with each other. The simultaneous acts of "reading" and "viewing" reveal the complexity of interpreting the meaning of what one believes "to see or understand". The new works of Poems by Repetition are a continuation of the series she began with in 2013 and now also subtly play with the interpretation of icons, symbols, slogans and existing poems of the 21st and 20th century, which are characterized by the stylistic principle of repetition. On packages and product specifications of electronic goods, album covers and advertising articles, Natalie Czech "finds" poems by Vsevolod Nekrasov, Charles Bernstein or Tom Raworth and makes them "readable" through markings. The methods of photographic reproduction employed by Natalie Czech resemble the rhetorical repetitions used by the poets.