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What could the primarily Western collection of the Nationalgalerie
look like today if a global understanding of art had informed its
development? Looking at artworks from non-European centres of
Modernism and their activities, untold stories and overlooked
connections are picked up and developed. The Nationalgalerie Berlin
subjects its collection to a critical revision, focusing on those
areas of the collection which are not central to a Western
understanding of art. Starting points include Heinrich Vogeler's
turn to the Soviet Union, the Dadaist Tomoyoshi Murayama's sojourn
in 1920s Berlin, and Joseph Beuys' collaborations with Nicolas
Garcia Uriburu. The result is a narrative of art from 1900 to the
present which, from a global perspective, selectively takes up and
explores historical, international, and transregional connections
between artists and cultural contexts.
The paintings of Katharina Grosse can appear anywhere. Her
large-scale works are multi-dimensional pictorial worlds in which
walls, ceilings, objects, and even entire buildings and landscapes,
are coated with splendid color. For the exhibition It Wasn't Us,
the artist has transformed the Historic Hall of Hamburger Bahnhof -
Museum fur Gegenwart - Berlin, as well as the outdoor space behind
the building, into an expansive painting which radically
destabilizes the existing order of the museum architecture. The
painting's support consists of the floor of the hall and a group of
polystyrene forms designed specifically for the exhibition, which
Grosse transposed into their final size in several working stages
and through incremental changes of scale. The painting stretches
beyond the building's confines and into public space, onto the vast
grounds behind the museum, and across the facade of the
Rieckhallen. It Wasn't Us does not connect interior and exterior,
museum and environment, or culture and nature. Rather, it
renegotiates our viewing habits and our forms of thought and
perception. Katharina Grosse (*1961, Freiburg im Breisgau), one of
the most profiled female painters on the international contemporary
art scene, studied at the Kunstakademie Munster, as well as at the
Dusseldorf Academy, where she was also a professor from 2010 to
2018. Her works have been seen in renowned museums, including the
Museum of Fine Arts in Boston (2019), the National Gallery in
Prague (2018), the chi K11 art museum in Shanghai (2018), and MoMA
PS1 in New York (2016), and at several biennials and triennials,
including Aarhus (2017), Venice (2015), and Curitiba (2013).
EXHIBITION: Hamburger Bahnhof -Museum fur Gegenwart - Berlin, June
14, 2020-January 01, 2021
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