ROSEMARIE TROCKEL
Märzôschnee ûnd Wiebôrweh sand am Môargô niana më
Curators of the exhibition:
Yilmaz Dziewior and Rudolf Sagmeister
24/01 — 06/04/2015
KUNSTHAUS BREGENZ
Austria
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| Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më Installation view 1st floor, Kunsthaus Bregenz Photo: Markus Tretter © Rosemarie Trockel, Bildrecht Wien 2015 and Kunsthaus Bregenz |
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| Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më Installation view 1st floor, Kunsthaus Bregenz Photo: Markus Tretter © Rosemarie Trockel, Bildrecht Wien 2015 and Kunsthaus Bregenz |
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| Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më Installation view 1st floor, Kunsthaus Bregenz Photo: Markus Tretter © Rosemarie Trockel, Bildrecht Wien 2015 and Kunsthaus Bregenz |
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| Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më Installation view 2nd floor, Kunsthaus Bregenz Photo: Markus Tretter © Rosemarie Trockel, Bildrecht Wien 2015 and Kunsthaus Bregenz |
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| Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më Installation view 2nd floor, Kunsthaus Bregenz Photo: Markus Tretter © Rosemarie Trockel, Bildrecht Wien 2015 and Kunsthaus Bregenz |
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| Rosemarie Trockel Evening Sun, 2013 Mixed acrylic material 110 x 110 cm 112,2 x 111,9 x 5,6 cm(framed) Photo: Ben Hermanni, Neuss © Rosemarie Trockel, Bildrecht Wien 2014, Courtesy Sprüth Magers |
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| Rosemarie Trockel Ocean View, 2014 Acrylic yarn 50.3 x 50.3 cm (two-part) 52.3 x 52.3 cm (framed) Foto: Mareike Tocha, Köln © Rosemarie Trockel, Bildrecht Wien 2015, Courtesy Sprüth Magers |
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| Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më Installation view 3rd floor, Kunsthaus Bregenz The Critic 2015, Mixed media, 170 × 60 × 60 cm Photo: Markus Tretter © Rosemarie Trockel, Bildrecht Wien 2015 and Kunsthaus Bregenz |
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| Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më Installation view 3rd floor, Kunsthaus Bregenz The Critic 2015, Mixed media, 170 × 60 × 60 cm Photo: Markus Tretter © Rosemarie Trockel, Bildrecht Wien 2015 and Kunsthaus Bregenz |
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| Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më Installation view 3rd floor, Kunsthaus Bregenz The Critic 2015, Mixed media, 170 × 60 × 60 cm Photo: Markus Tretter © Rosemarie Trockel, Bildrecht Wien 2015 and Kunsthaus Bregenz |
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| Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më Installation view 3rd floor, Kunsthaus Bregenz Photo: Markus Tretter © Rosemarie Trockel, Bildrecht Wien 2015 and Kunsthaus Bregenz |
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| Rosemarie Trockel Next Time, 2014 Digital print 80 x 60 cm Photo: Sprüth Magers © Rosemarie Trockel, Bildrecht Wien 2014, Courtesy Sprüth Magers |
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| Rosemarie Trockel Spiral Betty, 2010 Neontube, glass, Acrystal, cord, cable, plug 150 x 35 x 10 cm Ed. 3 | A.P. Photo: altengarten.de © Rosemarie Trockel, Bildrecht Wien 2015, Courtesy Sprüth Magers |
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| Rosemarie Trockel Rubbersoul, 2013 Acrystal, plexiglass, acrylic paint 25 x 130 x 35 cm Photo: Steven White, London © Rosemarie Trockel, Bildrecht Wien 2014, Courtesy Sprüth Magers |
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| Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më Installation view 2nd floor, Kunsthaus Bregenz Photo: Markus Tretter © Rosemarie Trockel, Bildrecht Wien 2015 and Kunsthaus Bregenz |
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| Rosemarie Trockel Canon Zero, 2012 Digital print 91,4 x 60 cm © Rosemarie Trockel, Bildrecht Wien 2014, Courtesy Sprüth Magers |
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| Rosemarie Trockel Untitled, 2014 Digital print on aludibond 80 x 106 cm © Rosemarie Trockel, Bildrecht Wien 2015, Courtesy Sprüth Magers |
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| Rosemarie Trockel Copy Me, 2012 Digital print on aludibond 80 x 60 cm © Rosemarie Trockel, Bildrecht Wien 2015, Courtesy Sprüth Magers |
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| Rosemarie Trockel Aspen Time, 2014 Digital print on aludibond 80 x 60 cm © Rosemarie Trockel, Bildrecht Wien 2015, Courtesy Sprüth Magers |
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| Rosemarie Trockel The Same Different, 2014 Digital print on aludibond 80 x 106 cm © Rosemarie Trockel, Bildrecht Wien 2015, Courtesy Sprüth Magers |
There
are only a few artists like Rosemarie Trockel, whose works have always been
able to retain their ambiguity in the face of great popularity. In a career
spanning more than 30 years, encompassing such internationally renowned
exhibition events as documenta (1997 and 2012) as well as the German Pavilion
at the Venice Biennale (1999), and which has led the way to the world’s major
museums, the artist has succeeded in creating new work complexes, objects and
images that are continually surprising. There had already been a great
furor in the 1980s surrounding the reception of her wool works, machine knitted
woolen fabrics attached to stretchers and then displayed as pictures. In
a second group of works she assembled ordinary hotplates on shiny, white,
enameled metal panels. Objects with gender specific connotations were again
re-contextualized, as had already occurred in the knitted pictures. These
abstract works mainly originate from the 1990s and were the ones that secured
Trockel’s place in the history of 20th century art. Rosemarie Trockel, who
participated in the group exhibition Love is Colder than Capital in
Bregenz at the beginning of 2013, has created a wide-ranging exhibition under
the title Märzôschnee ûnd Wiebôrweh sand am Môargô niana më especially for the
Kunsthaus. The cryptic character of this title in Vorarlberg vernacular
consciously creates connections to the region, as do some of the exhibits,
which were a result of the artist’s sojourn in the area. Fashion, customs, and
specific roles that are assigned socially and by gender are reflected in these
works, in which the traditional fabrics of the local Bregenzerwald
festive Tracht are recontextualized. An additional focus of her Bregenz
exhibition will be the presentation of print works, which are being shown in
such diversity for the first time. In Peter Zumthor’s spaces that shift between
cool elegance and the serenely atmospheric, she is also showing another group
of works — sculptures that orientate themselves towards furniture, some of them covered
in plastic sheeting that conspicuously deprives them of their customary use.
Rosemarie Trockel’s first major solo exhibition in Austria for more than twenty
years generates new perspectives on the artist’s compelling and diverse work.
are only a few artists like Rosemarie Trockel, whose works have always been
able to retain their ambiguity in the face of great popularity. In a career
spanning more than 30 years, encompassing such internationally renowned
exhibition events as documenta (1997 and 2012) as well as the German Pavilion
at the Venice Biennale (1999), and which has led the way to the world’s major
museums, the artist has succeeded in creating new work complexes, objects and
images that are continually surprising. There had already been a great
furor in the 1980s surrounding the reception of her wool works, machine knitted
woolen fabrics attached to stretchers and then displayed as pictures. In
a second group of works she assembled ordinary hotplates on shiny, white,
enameled metal panels. Objects with gender specific connotations were again
re-contextualized, as had already occurred in the knitted pictures. These
abstract works mainly originate from the 1990s and were the ones that secured
Trockel’s place in the history of 20th century art. Rosemarie Trockel, who
participated in the group exhibition Love is Colder than Capital in
Bregenz at the beginning of 2013, has created a wide-ranging exhibition under
the title Märzôschnee ûnd Wiebôrweh sand am Môargô niana më especially for the
Kunsthaus. The cryptic character of this title in Vorarlberg vernacular
consciously creates connections to the region, as do some of the exhibits,
which were a result of the artist’s sojourn in the area. Fashion, customs, and
specific roles that are assigned socially and by gender are reflected in these
works, in which the traditional fabrics of the local Bregenzerwald
festive Tracht are recontextualized. An additional focus of her Bregenz
exhibition will be the presentation of print works, which are being shown in
such diversity for the first time. In Peter Zumthor’s spaces that shift between
cool elegance and the serenely atmospheric, she is also showing another group
of works — sculptures that orientate themselves towards furniture, some of them covered
in plastic sheeting that conspicuously deprives them of their customary use.
Rosemarie Trockel’s first major solo exhibition in Austria for more than twenty
years generates new perspectives on the artist’s compelling and diverse work.
Text: Yilmaz Dziewior
Biography
Rosemarie Trockel
Rosemarie Trockel, born in 1952 in Schwerte, lives and works in Cologne.
From 1974 to 1978 she studied under Werner Schriefers at Cologne University of
Applied Sciences, formerly the
schools of visual art, architecture and design. In 1983 her first gallery
exhibitions took place with Monika Sprüth in Cologne and Philomene Magers in Bonn.
The Rheinisches Landesmuseum Bonn was the venue of her first exhibition in a
museum in 1985. Her work was shown to great acclaim in 1988 at the Museum of
Modern Art, New York, in 1991 at the Museum of Contemporary Art, Chicago, and
the Institute of Contemporary Art in Boston. She has also participated in
numerous exhibitions in Europe. Highly regarded solo exhibitions have been staged at the Museo Nacional Centro de
Arte Reina Sofía in Madrid, the New Museum in New York, as well as the Serpentine Gallery in London
(2012/2013), at WIELS-Centre D’Art Contemporain in Brussels, at Culturgest in Lisbon,
along with the Museion Bozen (2012/2013), and the Kunsthalle Zürich (2010).
From 1974 to 1978 she studied under Werner Schriefers at Cologne University of
Applied Sciences, formerly the
schools of visual art, architecture and design. In 1983 her first gallery
exhibitions took place with Monika Sprüth in Cologne and Philomene Magers in Bonn.
The Rheinisches Landesmuseum Bonn was the venue of her first exhibition in a
museum in 1985. Her work was shown to great acclaim in 1988 at the Museum of
Modern Art, New York, in 1991 at the Museum of Contemporary Art, Chicago, and
the Institute of Contemporary Art in Boston. She has also participated in
numerous exhibitions in Europe. Highly regarded solo exhibitions have been staged at the Museo Nacional Centro de
Arte Reina Sofía in Madrid, the New Museum in New York, as well as the Serpentine Gallery in London
(2012/2013), at WIELS-Centre D’Art Contemporain in Brussels, at Culturgest in Lisbon,
along with the Museion Bozen (2012/2013), and the Kunsthalle Zürich (2010).
In 1999 she was the first female artist to stage the German Pavilion at
the Venice Biennale, which she took part in again in 2013. She was a
participant in documenta in Kassel in both 1997 and 2012.
the Venice Biennale, which she took part in again in 2013. She was a
participant in documenta in Kassel in both 1997 and 2012.
In addition to numerous other prizes she was awarded the Goslar
Kaiserring in 2011 and the Roswitha Haftmann Prize in Zürich in 2014.
Kaiserring in 2011 and the Roswitha Haftmann Prize in Zürich in 2014.