Inge Mahn — Anatomisches Theater / Alles hat seine Ordnung / Der Krug & Der Topf / „Im Namen des Volkes“ oder Drehende Bewegung complete four volumes set in original slipcase

245,00 kr.

In stock

Description

Berlin: diálogo ViaArte, 2000 / Galerie der Stadt Fellbach 2000 / Städtisches Kramer-Museum & Kempener Skulpturenprojekt, Kempen, 2000 / Kreissparkasse Göppingen 1999. 4 x 4to in wraps in slipcase

First edition (s)

“How should one describe her work? When the Düsseldorf Art Academy was forcibly closed by the ministry in 1969 out of fear of Jörg Immendorff’s Lidl Academy action project and the student revolts, the young Beuys student Inge Mahn placed two plaster guardhouses in front of the entrance in response to the police violence. Then she builds a confessional on wheels: for “the lying pack” at the academy. When there was too much discussion in the Beuys class that same year, she moved out into the hallway and built a plaster house in a corner in which she modeled everything, including the furniture, out of steel, wood and plaster. Mahn’s housing is a workshop, a social sculpture, a protest against ongoing operations. Similar to the construction huts that craftsmen built on the cathedral construction sites in the Middle Ages, their little house is attached to the patriarchal institution of the academy, whose structures should actually be rebuilt, but of course that doesn’t happen.” (Oliver Koerner von Gustorf). “German sculptor Inge Mahn (1943–2023) consciously alienated the commonplace, sensibly manipulating everyday motifs to unlock a range of incongruous possibilities. Working predominantly with white plaster, the artist estranged objects through raw modelling, re-contextualisation, subtle subtractions and additions, creating a universe of unimagined possibilities. Throughout Mahn’s practice, discrete sculptural elements and installations become activated by independent structures. Purposely ignoring the notion of the self-standing work of art, the artist created works that would interact with broader architectural, historical and socio-political contexts, often formulating responses to specific environments. Foregoing the ready-made principle and the traditional concept of architectural and monumental sculpture, the works testify to Mahn’s career-long democratic intentions – often time-based or kinetic, they trigger one’s memories to comment on a range of issues such as authority, power and individuality.”

Inge Mahn — Anatomisches Theater / Alles hat seine Ordnung / Der Krug & Der Topf / „Im Namen des Volkes“ oder Drehende Bewegung complete four volumes set in original slipcase

245,00 kr.

In stock