Nackte Brüste, runde Hintern, freche Mäuler?
COLLABORATION ___ Patrycja German / Holger Endres
Anna K.E. & Florian Meisenberg
Melissa E. Logan / A.L. Steiner
Special Guest: Ulrike Rosenbach
Kurated by Noemi Smolik
For years, feminism was a taboo subject in art. Most women artists recently refused to be associated with feminism. That seems to be changing. More and more young artists are realizing that the dream of equality between women and men – which was the original goal of feminism – is far from being realized. The exhibition therefore takes up the concept of feminism again, even if it makes itself vulnerable, because in the meantime the discussion on equality has been expanded to include questions of gender, transgender and sexual orientation. Some even speak of post-feminism. All these approaches have one thing in common with the original feminism: the refusal to accept discrimination because of sexual affiliation or orientation.
The exhibition at Galerie Gisela Clement asks what has changed in the self-understanding of the artists since the emergence of feminism in the 60 years of the last century? Eight artists representing three generations will be shown. The starting point of the exhibition are the works of Ulrike Rosenbach. She belongs to the first generation of female artists to consciously address the question of women’s equality in art. She shows the photo series Female Energy Change (1975), Weiblicher Energie Austausch (1975), Aphrodite TV (1975) and the photo tableau Pasadena Rose Parade (1973/2015) alongside three of her central videos. Melissa E. Logan and A. L. Steiner represent the middle generation. These artists, who have attracted attention through their collaboration with Chicks on Speed, see their art as an activist medium. They created works especially for the exhibition that refer to the tens of thousands of years old origins of painting, to the body prints in the southern French caves, and thus thematize the female body as a motif of painting.
The upper floor is reserved for the third generation of artists. Magdalena Kita’s brightly coloured world of images, which takes up motifs from pornography, consciously moves at the limit of what is still bearable. In addition to drawings from the series Californication (2014-2015), she shows wild boar hides with glittering kitschy motifs and, for the first time, a painted folding altar whose motifs are anything but sacred. The artists Patrycja German and Anna K.E. perform with works created in collaboration with male colleagues. And this distinguishes them from earlier generations of female artists for whom collaboration with artists often seemed impossible. Six large-format photographic works from the series 3 DECEMBER 2013, 2 p.m., BERLIN by _Patrycja German and Holger Endres will be shown, which are a humorous result of a joint artistic examination of the female body as model and muse of the artist. In a large-scale installation, Anna K.E. and Florian Meisenberg show the video work Late Check-Out (2016), in which the two convey their own understanding of gender roles from the perspective of their generation.