werks – -Translation – Keybot Dictionary

Parallel zu seiner Installationen "Zu Hilfe, zu Hilfe" in der Berliner Neuen Nationalgalerie unternimmt das Deutsche Guggenheim mit "ICH NICHT/ENDUROS" eine aktuelle Bestandsaufnahme des Werks von Imi Knoebel.

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Parallel to his installations "Zu Hilfe, zu Hilfe" at the Neue Nationalgalerie in Berlin, the Deutsche Guggenheim also takes stock of Imi Knoebel's current work in "ICH NICHT/ENDUROS." The two-part exhibition first presents new wall and spatial works, followed by over 200 works on paper from the Deutsche Bank Collection. The press celebrates Knoebel as a "mythical icon of West German art history."

Allerdings sprengt diese Leistung des Rezipienten noch nicht den Rahmen der Interpretation, also der rein gedanklichen Fortführung oder Vollendung des Werks. Anders das "Stirnstück", das der Prototyp von weiteren 58 Objekten des 1. Werksatzes ist.

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The viewer's participation didn't, however, yet go beyond the context of interpretation, but remained a purely conceptual continuation or completion of the work. This is different in the case of the Forehead Piece, the prototype for another 58 objects of the First Work Set (1. Werksatz) in which Walther completed a shift in paradigm: action instead of interpretation. The series, finished in 1969, does not merely call for a viewer, but for an active participant; it was to enjoy an amazing success. As a result, curator Jennifer Licht became fascinated by the open and process-oriented character of the First Work Set. Although the viewer becoming active was in direct contradiction to the custom of the time regarding a visit to the museum, she showed this work that same year in the exhibition Spaces. This exhibition at the Museum of Modern Art in New York included, along with Walther, Dan Flavin, Robert Morris, and others. And Walther also had work in Harald Szeemann's long since legendary exhibition When Attitudes Become Form in the Kunsthalle Bern.

Heute gilt Baselitz als einer der Wegbereiter des Neoexpressionismus in den achtziger Jahren, der die moderne Kunst in Deutschland nachhaltig prägte. Dennoch verwehrt sich der Künstler, der sich neben der Malerei auch intensiv der Bildhauerei widmet, gegen eine Einordnung seines Werks in die zeitgenössischen Kunstströmungen.

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Today, Baselitz is considered to be one of the forerunners of Neo-Expressionism of the 1980s; his work has left an indelible mark on modern German art. Nonetheless, the artist, who is active in both the areas of painting and sculpture, resists the classification of his work into a contemporary movement. The jury decision to award the German painter reads as follows: “In his career, Baselitz always sought the stylistic break with his past work. Moreover, his artistic power of imagination draws on the complete inventory of Western art and culture.”

Show text Show cached source Open source URL	Anfangs arbeitete Lawrence Weiner noch mit Leinwänden, seit Ende der Sechziger ist Sprache sein bevorzugtes Medium und dient ihm als "bildhauerisches Material". Weiner verlagert die Verantwortung für die Realisierung des Werks auf den Betrachter.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	He’s one of the pioneers of conceptual art. In the beginning, Lawrence Weiner still worked on canvas; since the late sixties, language has been his preferred medium, serving him as "sculptural material." Weiner’s is an art that shifts the responsibility of realization to the viewer, whose reaction is required to complete the work.

Selbstverständlich argumentiert Armin Linke innerhalb des fotografischen Diskurses entschieden eigensinnig - wie man es von großen Fotografen kennt. Anders als sie thematisiert er aber auch die Grundlagen, Regeln und Institutionen dieses Diskurses in der Aufarbeitung seiner Werks stets mit und macht sie transparent.

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Yet it's not the sober sensitivity he brings to bear in dissolving the boundaries between document and fiction that defines Armin Linke's work as artistic in essence, but rather his conscious intellectual investigation of the archive. It's a given that he formulates his arguments within the photographic discourse in a distinctly individual manner—just like the great photographers do. In contrast with them, however, he always addresses the foundations, rules, and institutions of this discourse within his work, making them transparent as he does so. With this strategy, Armin Linke underscores a basic concept of contemporary art.

Show text Show cached source Open source URL	Neben The Swimmer in the Econo-mist zeigt die Retrospektive in New York eine Reihe von Vorzeichnungen, die die Entstehung des Werks dokumentieren, und weitere Arbeiten von Rosenquist aus der Sammlung Deutsche Bank.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	Along with The Swimmer in the Econo-mist, the New York retrospective is also showing a series of preliminary drawings that document the work's development, as well as a number of other works by Rosenquist from the Deutsche Bank Collection.

Fischli & Weiss erzeugen ein Spannungsfeld zwischen Komik und Tiefgründigkeit. Jetzt zeigt die Londoner Tate Modern die erste Retrospektive ihres Werks in Großbritannien. Julia Grosse über die absurd-subversiven Inszenierungen des Schweizer Künstlerduos.

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They construct cities out of slices of sausage and pose existential questions such as “Do I suffer from good taste?” or “Is a bus coming?” Fischli & Weiss create a field of tension that oscillates between comedy and profundity. Now, the Tate Modern in London is showing the first retrospective of their work in Great Britain. Julia Grosse on the absurd, subversive stagings of the Swiss artist duo.

Körperbewusstseinsmalerei - so nennt Maria Lassnig ihre Selbstbildnisse und Porträts, in denen sie körperliche Empfindungen darstellt. Als eine der ersten Künstlerinnen stellt sie den weiblichen Körper ins Zentrum ihres Werks und wird so zum Vorbild für nachfolgende Generationen.

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Body consciousness painting-this is how Maria Lassnig calls the portraits of herself and others that depict bodily sensations. Lassnig was one of the first women artists to make the female body the focus of her work; in doing so, she became a role model for generations that followed. While Katharina Sieverding uses the medium of photography to question the self, Elvira Bach has been unerringly stylizing herself for more than thirty years as a femme fatal or "kitchen diva." Diametrically opposed to Bach are the written works of Hanne Darboven. Over the course of years, her obsessive involvement with numbers and dates has given rise to an entirely singular work: in a sober, almost mathematical manner, she records the world's chaos on tens of thousands of sheets of paper. Like Darboven, Isa Genzken also frames a reference to minimalism, even while her oeuvre defies all genre boundaries. The show's youngest artist is Rosemarie Trockel, who was just awarded the renowned Goslarer Kaiserring. She, too, successfully resists every attempt at categorizing. Drawing is a constant in Trockel's work; it is the medium she uses to work through her ideas and motifs. This "sketchy character" also characterizes many of the other works on show at the Wall Gallery. This, not least, is what also makes Beauty is a Beast such a fascinating show.

Ich schlage dem Publikum eine Lesart vor, in der der Künstler aus seinem Werk heraustritt und dem Betrachter somit eine zeitgemäße Wahrnehmung erlaubt, in der er selbst, mit seinem eigenen Erfahrungsschatz, zum Co-Autor des betreffenden Werks wird.

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I hope that the audience, similar to Roland Barthes’ distinction between "text" and "work", will discover facets of "text" in the works of the above-named artists – that is, find new interpretation possibilities going beyond the usual reception as completed works of art history. I propose to the audience a reading in which the artist steps out of his work, thus permitting the viewer a contemporary perception in which he himself with his own wealth of experience becomes co-author of the work in question. In the end this makes it easier for him to question the meaning ascribed to the works today.

Vor einem dramatischen Abendhimmel erhebt sich hinter Stacheldraht ein Turm mit dem Logo des Automobilherstellers. Unter der Aufnahme prangt das Wort "Arbeitsdisziplin". Diese Anspielung auf die Verstrickungen des Konzerns mit dem Dritten Reich sorgte nicht nur im Direktorium des VW-Werks für große Aufregung.

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A fondness for provocation appears typical of contemporary Polish art. One only has to think of Katarzyna Kozyra's Midget Gallery, a group of dwarves who wreak havoc at international art fairs. Or, perhaps the most famous example, Piotr Uklanski's controversial photo series The Nazis. During its showing at the Zacheta in 2000, Polish actor Daniel Olbrychski used a saber to attack the series of portraits of famous actors in German SS and WWII army uniforms, causing the biggest art-world scandal in Poland's post-war history. Rafal Jakubowicz also takes a controversial approach to Germany and Poland's shared history: in 2002, his piece Arbeitsdisziplin caused heated debate. The photographs show the Volkswagen factory in Poznan, the artist's hometown, which lies close to the Poland's border with Germany. A tower with the carmaker's logo rises up behind barbed wire, against an evening sky. Below the photo is the German word "Arbeitsdisziplin", or "discipline at work". This reference to VW's involvement with the Third Reich caused quite a stir – and not just among the automobile manufacturer’s management.

Im Umfeld von Concept und Minimal Art entstanden ihre ersten Konstruktionszeichnungen. Schon bald darauf wurden Tagesdaten zur Basis ihres Werks. Mit Zahlenreihen, ausgeschriebenen Zahlwörtern und ihrer auf U-förmige Bögen reduzierten Schrift hielt sie die Zeit fest und fand damit das Thema, das ihr Werk von nun an prägen sollte.

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"Art is a mixture between concept and discipline": this was one of Hanne Darboven's maxims. The artist has now died at the age of 67 in her native city of Hamburg. In 1966, Darboven moved to New York for two years during her studies at the Hochschule für bildende Künste in Hamburg. She created her first construction drawings in an atmosphere dominated by Conceptual and Minimal art. Shortly thereafter, she made calendar dates the basis of her work, a theme that would go on to dominate her art for the rest of her life. Darboven sought to capture time with her columns of numbers and by writing out the names of numbers in a form of notation reduced to U-shaped undulating lines. Later, she began integrating texts, photographs, and magazine covers into her works in order to reflect upon historical, social, and political issues. At home in her house in Hamburg, she produced countless works on paper with incredible diligence on a daily basis from 4 until 11 in the morning. "The elegance of this work and thinking is something one never forgets," as her artist friend Sol LeWitt remarked while recalling his first encounter with Hanne Darboven. And Lawrence Weiner characterized her inimitable work with the laconic comment: "It is what it is."

Thomas Scheibitz' Skulptur EX Block, die die Besucher in der Eingangshalle des Frankfurter Museums für Moderne Kunst empfängt, trifft den Nagel auf den Kopf. Denn Scheibitz' erste große Museumsschau in Deutschland widmet sich einem zentralen Aspekt seines Werks: der menschlichen Figur.

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A yellow block rests on a six-meter-high column. Geometric protrusions and indents pick up on shapes from the windows on the second floor. Yet the block seems to have a face: square eyes, a line for a nose, a box jaw. Like an abstract totem pole. Thomas Scheibitz' sculpture EX Block, which is situated in the entrance hall of the Museum für Moderne Kunst Frankfurt am Main, hits the nail on the head. For Scheibitz' first big museum show in Germany is devoted to a central aspect of his work: the human figure. "Finding a contemporary form for this is the most difficult thing, but also the most important. Intuitively, I've always thought I'd arrive at this sort of result. But it took twenty years for me to describe it," says the artist in a conversation with ArtMag.

Walthers frühe Revision des Kunst- und Werkbegriffs ist zwar nicht identisch mit dem von Bourriaud konstatierten Aufgehen des autonomen Werks in interaktiven Szenarien für alternative Formen von Gemeinschaft.

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This rediscovery of Franz Erhard Walther began in the mid-nineties-not least in connection with discussions about "relational aesthetics." In 1996, the French art theoretician and curator Nicolas Bourriaud gave the name "relational aesthetics" to the phenomenon of a radically expanded concept of art: suddenly, we were having dinner with Rirkrit Tiravanija or lying down beneath Olafur Eliasson's lamps and imagining the sunset in the Tate Modern. While Walther's revision of the concept of art and the artwork is not identical with Bourriaud's dissolution of the autonomous work in favor of interactive scenes for alternative forms of community, these contemporary concepts are inconceivable without his earlier subversion of the relationship of authority between the work of art, the art space, and the visitor.

Dabei sind die Säulen ihres Werks Schock und Kalauer, die wichtigste ästhetische Strategie die des Einfach-Draufhauens. Bekannt wurden sie mit erstklassig ausgeführten Glasfaser- und Kunstharzskulpturen von nackten Kindern in Nike-Turnschuhen, die an den unwahrscheinlichsten Stellen mit einander verwachsen sind und denen an noch unwahrscheinlicheren Stellen Geschlechtsteile aus dem Körper ragen.

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The pillars of their work are shock effects and corny jokes, and their most important aesthetic strategy is to simply lower the boom. They made a name for themselves with first-rate fiberglass and resin sculptures of naked children wearing Nike tennis shoes who are joined together in the most improbable places and from whose bodies genitals jut out in even more improbable places. These sculptures bear titles such as Fuck Face (1994) and Two-faced Cunt (1995). Other works depict decomposing skeletons covered with flies, worms, and snakes, inspired by Goya's drawing cycle Los desastres de la Guerra (1810-1820). That the Chapman's additionally auctioned off two volumes from 1937 with original editions of these etchings and adorned them with Mickey Mouse faces, insect antennae, and swastikas, caused an outrage. The list of affronts, obscenities, and cynicisms in the Chapmans' extensive work goes on and on.

Vom Raumschiff bis zum Wal-Kiefer reichen die Vergleiche für das zentrale High-Tech Gebäude, das 600 Arbeitsplätze für Ingenieure und Werkstudenten, Konferenzräume, Ausstellungsflächen und ein Restaurant beherbergt.

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“In the circus arena of contemporary architecture, Zaha Hadid is the unparalleled trapeze artist, a star,” as architecture critic Manfred Sack remarked during the award ceremony for the 25,000-Euro German Architecture Prize, which was awarded to the Iraqi architect in December of 2005. Indeed, Hadid always manages to turn her projects into media events. No other industrial building in Germany attracted more attention before its completion than the BMW plant she planned and realized in Leipzig, which were opened in May of last year. The comparisons for the high-tech headquarters range from space station to whale jaw; the structure contains 600 workplaces for engineers and students, conference rooms, exhibition spaces, and a restaurant. The transparency of the works is impressive: hanging from the ceiling of the foyer behind glass walls, car parts hover noiselessly above montage belts running high above the heads of staff and visitors.

"Warhol hat sein Studio 'Factory' genannt, um ironisch und provokativ zu sein. Damiens Studios sind tatsächlich Fabriken und er hat die mechanische Produktion zu einem zentralen Teil seiner Arbeit gemacht." Hier seien die Prozesse des Produzierens und Vermarktens selbst wichtiger Bestandteil der Bedeutung des Werks geworden.

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Teaching artists and being an artist oneself often seem like two sides of one coin. When one talks with Craig-Martin about bringing out the artistic potential in his students, one is reminded of Joseph Beuys' claim that "To be a teacher is my greatest work of art." But isn't it well-known that teaching can also damage an artist's output? Though Craig-Martin acknowledges paying a price for teaching, it is no coincidence that his later style evolved a few years after his arrival at Goldsmiths. "There is no doubt when you are teaching that it's a good idea to listen to yourself-what you are saying to students is often what you would have liked someone to say to you. My teaching had a very big impact on my work. I started drawing individual objects in 1978. I drew one thing after another. I used tape, as I wanted the drawings to have the same impersonal character as the objects; I wanted to make drawings that had no style, but ironically that has come to be seen as my style." He went for the most common things-shoes, tables, chairs, and sunglasses-things below the radar of importance. In an aside about Warhol, Craig-Martin exclaims, "I wanted something even more universal than Marilyn Monroe!"

Im Zentrum des Werks von Julie Mehretu stehen drängende Themen wie Migration oder der rasante Wandel der Städte. Für das Deutsche Guggenheim hat sie die Auftragsarbeit "Grey Area" realisiert, einen siebenteiligen Gemäldezyklus, der sich mit urbaner Architektur, Krieg, Zerstörung und nicht zuletzt ihren Eindrücken von Berlin auseinandersetzt.

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Julie Mehretu's work focuses on urgent themes such as migration and the rapid changes the world's cities are currently undergoing. Mehretu has created the commissioned work "Grey Area" for the Deutsche Guggenheim, a seven-part painting series that investigates urban architecture, war, destruction, and not least her own personal impressions of Berlin. The press has reacted enthusiastically to Mehretu's work, which is multi-layered in the truest sense of the word.

"Doch wenig später kommen einem auch schon die Gemeinsamkeiten dieses ungleichen Paares in den Sinn: der performative Charakter ihres Werks, der gnadenlose Ganzkörper-Einsatz, die existenzielle Selbstentäußerung, das narrative Element ihrer dramatischen Aktionen, der mythologische Überbau, die Verwendung von Wachs beziehungsweise Vaseline als Material, die Arrangements in Vitrinen als skulpturale Form, die Installationen."

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To Nicola Kuhn of the Tagesspiegel, it initially seems "pretty daring" to combine Beuys and Barney – "guru and antagonist" – in an exhibition. "Yet the things this unequal pair have in common soon come to mind: the performance character of their work, the relentless implementation of the whole body, the existential expression of self, the narrative element in their dramatic actions, the overriding mythological structure, the use of wax and Vaseline as material, the arrangements in vitrines as a sculptural form, the installations." As in the juxtaposition of Beuys and Rodin at Frankfurt's Schirn, "it's once again an American – Nancy Spector of New York's Guggenheim Museum in cooperation with Deutsche Bank – that daringly takes on Beuys, this time pairing him with a contemporary. She herself has termed it 'an experiment' currently on show at the Deutsche Guggenheim on Unter den Linden. Here, too, for nearly ten years now, two strong partners have entered into a fruitful relationship that has brought the city an added cultural value, to borrow Beuys' words." While Kuhn fears that the dual exhibition will not prove particularly popular with the public,

Dabei hat er verschiedene Motive seines Werks ins Extrem getrieben: die Jugend und Schönheit seiner Akteure, eine am Film Noir geschulte Schwarz-Weiss-Ästhetik sowie die Verweise auf verschiedene alte chinesische Traditionen Kalligraphie und Tuschemalerei, Zen-Philosophie und die Anmut der Körper in der Kampfkunst.

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For the production of First Spring, the artist, who was born in 1971 in Beijing, entered the realm of fashion and advertising and took the various motifs in his work to the extreme: the youth and beauty of his actors, a black and white aesthetic borrowed from film noir, the references to the various ancient Chinese traditions of calligraphy and ink painting, Zen philosophy and the grace of bodies engaged in martial arts. First Spring, however, also envisages another phenomenon: the symbiotic relationship between the luxury goods industry and the art establishment so blatant these days in Chinas museums and magazines.

Jede der in der Ausstellung gezeigten Arbeiten, die mit Künstlern wie Paula Modersohn-Becker , Emil Nolde oder Ernst Barlach vom beginnenden 20. Jahrhundert bis in die unmittelbare Gegenwart reichen, wie sie von Miwa Yanagi, Bill Viola oder Kara Walker vertreten wird, erzählt schließlich ein Stück Kunstgeschichte. Doch nicht nur die künstlerische Qualität eines Werks noch seine kunsthistorische Bedeutung sollten in der Patenauswahl beurteilt werden.

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Each of the works in the exhibition, which reaches from early 20th century artists such as Paula Modersohn-Becker, Emil Nolde or Ernst Barlach through the present day - as represented by Miwa Yanagi, Bill Viola or Kara Walker - tells a piece of art history. But the godparents were not given the task of judging the works according to their artistic merit or importance in art history.

Es führt kein Weg daran vorbei. Die Schärfe, ja geradezu die Gemeinheit, mit der so ein Brenner-Satz unsere gedanklichen Alltagsmontagen aufspießt, ist ein zentraler Moment ihres Werks. Ein typischer Brenner-Satz geht so: "Sie beten jeden Tag. Dafür, dass sie gesund bleiben und dass das Auto fährt."

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When it's a matter of writing about Birgit Brenner and her art, it's essential to begin with a typical Brenner sentence. There's just no getting around it. The acuity and even cruelty in the way a Brenner sentence pierces our mental montages of everyday life is a key feature of her work. A typical Brenner sentence, for instance, sounds like this: "They pray every day. To remain healthy and make sure the car starts." And it's true: we're constantly demoting the value of our most prized possession, health, to the level of an ordinary consumerist product. In everyday life, the body is seen as a mere car, and both should please, please go on working.

Anfangs vom Surrealismus und Informel beeinflusst, löst sich die 1919 geborene Östereicherin vollkommen von stilistischen Vorbildern und entwickelt eine ganz eigene künstlerische Sprache. In ihren kraftvollen Gemälden stellt sie als eine der ersten Künstlerinnen den weiblichen Körper ins Zentrum ihres Werks und wird so zum Vorbild für nachfolgende Generationen.

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Body-awareness painting - that's what Maria Lassnig calls the self-portraits, portraits, and still lifes in which she depicts bodily sensations. Initially influenced by Surrealism and Informel, the Austrian artist, who was born in 1919, completely divorced herself from stylistic models and developed her own artistic language. In her powerful paintings she was one of the first women artists to put the female body at the center of her work and thus became a model for subsequent generations. Brigitte Werneburg visited Maria Lassnig, several of whose works are included in the Deutsche Bank Collection, in her studio in Vienna.

Dramatische Ereignisse stehen im Zentrum von Sikanders künstlerischer Arbeit. Gleichzeitig wird ihr Werks von einem großen Sinn für Humor geprägt. Ihre Allegorien lassen historische Ereignisse zu bizarren Geschichten mutieren.

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Cataclysmic events are the lifeblood of Sikander's visual language, and yet, there is great humor in her work. At times, her odd-ball use of allegory and vaudevillian drama turn history into a quixotic narrative. But narrative is not her stopping point. As I learned from the artist in her Midtown New York studio, what she's most "interested in is how flux can open the dialogue between cultural and political boundaries."

Während Smith den weiblichen Körper, Schmerz und Vergänglichkeit ins Zentrum ihres vor allem skulpturalen Werks stellt, untersucht Weems in ihren Fotografien, Filmen und Installationen die Rolle der afroamerikanischen Community in der amerikanischen Geschichte.

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Kiki Smith and Carrie Mae Weems, two important women artists, also received the distinction. They represent important tendencies in U.S. art, investigating gender roles and ethnic identity. While Smith puts the female body, pain, and ephemerality at the center of her sculptural work, in her photographs, films, and installations Weems explores the role of the African-American community in American history. The former unionist satirizes old and new stereotypes to drive cultural and social processes of change.

"Ein Rad, das sich nicht dreht, ist kein Teil der Maschine", sagt Ludwig Wittgenstein. Angesichts des Werks der türkischen Künstlerin Asli Sungu möchte man allerdings behaupten, das Rad, das sich nicht dreht, ist gerade deshalb ein Teil der Maschine.

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"A wheel that doesn’t turn isn’t part of the machine," said Ludwig Wittgenstein. In the face of the work of the Turkish artist Asli Sungu, however, one could claim that a wheel that doesn’t turn is part of the machine for that very reason. The temptation to interpret her work as a machine that only produces art when a wheel locks, when s shirt can’t be buttoned, or shelves don’t hold the things put on them, is big. Watching Asli Sungu’s short videos, you get the impression that she is fascinated by mistakes.

Die imposanten Ausmaße der Bodenskulptur, die an einer Stelle fast zehn Meter misst und in der Mitte mannshoch empor ragt, unterstreichen dabei die Grundelemente seines Werks, das in immer neuen Ausprägungen das Verhältnis von Körper und Raum abzuwägen sucht.

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Amorphous carpet landscapes shimmer in pink; protuberances grow high out of their surfaces, like termite hills. On the grey floor of Berlin's Max Hetzler Gallery, Ernesto Neto's installations resemble artificial organisms whose dynamics are born out of the contrast between opposites: outside and inside, heavy and light, amorphous and clearly delineated. The slow pace of the body that skin is (2004), the title of the work, refers directly to the Brazilian artist's imaginative world, revealing a dark pleasure in playing with sensuous forms and strict conceptual considerations. The imposing scale of the floor sculpture, which measures 33 feet in one part and rises up in the middle to human height, underscores the fundamental elements of Neto's work, which seeks to investigate the relationship between body and space in ever-changing variations.

Die Collagen, Zeichnungen, Fotografien und Druckgrafiken, die jetzt in der New Yorker 60 Wall Gallery zu sehen sind, können so einen umfassenden Einblick in die Entwicklung eines Werks bieten, das den Betrachter immer wieder überrascht und gerade bei Künstlern der jungen Generation auf starkes Interesse stößt.

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The Deutsche Bank Collection has been purchasing works by Imi Knoebel for over 25 years. The number has reached over 1,000 individual pieces today. The collages, drawings, photographs, and prints now on show at the 60 Wall Gallery in New York offer insight into the development of an oeuvre so comprehensive that it surprises the viewer again and again and attracts great interest particularly among artists of a younger generation. At the same time, the show focuses on a medium that has stood at the center of the banks collecting activities since the very beginningpaper.

"Über alle Medien hinweg setzt sich ein großer Teil meines visuellen Werks mit dem Begriff 'junglee' auseinander was 'wild' oder wörtlich übersetzt 'aus dem Dschungel stammend' bedeutet", erklärt die Künstlerin in einem Interview mit der Dichterin Louise Bak.

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The Rebel Queen of Jhansi embodies a counter-model to the conservative Hindu female image. In an advertising copy of a comic on her life it is specifically stressed that "she was not aggressive by nature and it was only when the British threatened to annex her small kingdom that she took up arms." For Ganesh, however, Rani is interesting precisely because of her aggressive potential, for the paintings, drawings, wall pieces, and films of the artist, who was born in Brooklyn, New York in 1975, can be understood as a single, ongoing examination of the theme of female strength. "Much of my visual vocabulary across media engages the term 'junglee'-meaning savage or literally 'of the jungle,'" the artist explains in an interview with the poet Louise Bak, "an old colonial Indian idiom used to describe women who were perceived as defiant or transgressing social norms.() The junglee's defiance of patriarchal authority makes her a savage. I think the idea of an 'untame woman' functions as both a seductive and repellent category."

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Das Deutsche Guggenheim Berlin zeigt eine Auswahl seiner Arbeiten aus den Jahren 1966 bis 1990. Hier kann man sich mit seinen berühmten Performances, seinen ungewöhnlichen Hologrammen, aber auch der politischen Dimension seines Werks auseinandersetzen.

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Extremes in praise and rebuke, panegyrical high esteem and disdainful contempt have been unleashed in waves since the early seventies, when the artist Bruce Nauman, who was 31 years old at the time, presented his first retrospective in America and Europe. Currently he is regarded as one of the most important artists working today. The Deutsche Guggenheim in Berlin presents a selection of his works from 1966 to 1990, including his most famous performances and most unusual holograms. The political dimension of his work is represented as well. +++ In an essay, Christine Hoffmann addresses the artist's complex and copious work. +++ In an interview with Arno Widmann, Susan Cross, curator of the exhibition, clarifies a few of the aspects of his work in light of her selections. +++ In this issue's magazine: With the current publication, the Deutsche Bank art calendar is celebrating its fiftieth birthday. +++ Last but not least: The Guggenheim in New York opens its James Rosenquist retrospective. In an interview the artist talks about his influences, about Robert Rauschenberg's Combine paintings, and about his malted milk mixer.