The empire is bursting: the neugerriemschneider gallery opens the Isa Genzken exhibition

Shortly before Isa Genzken finally gets an exhibition in the New National Gallery in July – she, who has dealt so much with modern architecture, including by Mies van der Rohe – her long-standing gallery neugerriemschneider is also doing her the honor.

It seems a bit unusual, the invitation to do so. At 11 a.m. on a Tuesday morning, the exhibition of one of the most important contemporary artists opens? Maybe wrong time I think, or a press event? Isn’t it both then?

The principle of the gallery is to only hold opening ceremonies when the artists can be present, I am told in the gallery. Isa Genzken, who turns 75 in November, lived in a psychiatric hospital for a while and gave up drinking years ago, has withdrawn from the public eye. So the gallery just starts the exhibition this morning, without any official fanfare. open the door and go. With the nice side effect that it is empty.

Dystopian scenes instead of modern architecture

I stand alone with Genzken’s objects from the “Empire / Vampire” series. Colorful assemblages of materials on high white bases. Here and there a foil glitters, two orange blossoms attract attention. In addition to the upcoming birthday, another anniversary is being celebrated here. The series was first exhibited at the gallery exactly 20 years ago.

The most recent works are from 2003 and they mark a turning point in the work of the Berliner-by-choice, which has known a number of turning points. Instead of the minimalist, reduced concrete sculptures with which she was previously known, she now built something completely different. That can frighten collectors and fans, not every artist dares to do that.

There are exuberant accumulations of objects, stages with all kinds of consumer stuff, small figurines of soldiers and cowboys, animal toys, plastic glasses and hardware store materials. Mostly colorfully sprayed. Genzken is a shopping queen, at least she was for a while, likes to shop a lot, and she also loves New York, I’m told.

The burden and pleasure of consumption is reflected in the works. Even more important is the point in time at which they were created. It is the time after 9/11, the twin towers of the World Trade Center were brought down by Islamists, America was hit. Another turning point, this time for the whole West and its “we are the greatest” self-image. The tumult that the artist expresses in her work is still very topical. We can look forward to this Genzken year.