La costruzione di un’immagine

Palazzo delle Papesse, Siena
Through May 13

As part of the cycle “Le Repubbliche dell’Arte,” the Palazzo delle Papesse is presenting an overview of the current state of German art. Over twenty artists have been invited to explore the notion of “the making of an image,” working with the exhibition space at hand. The exhibition offers a new perspective on the ever-pertinent question as to whether it is possible to recognize specific national characteristics in art.

Do the artists under examination demonstrate a sense of “belonging” to a particular cultural contest? Is there any identifiable common denominator in their work? And, if so, is this necessarily the result of geographic proximity? The works in the exhibition form a sort of mosaic of national identity. In a site-specific piece, John Bock fashioned a claustrophobic environment from a cube, whose interior could only be viewed through a long wound-style slash along one of the walls. During the opening Rirkrit Tiravanija passed round plates of hot food that he had cooked—the film of which event was later included in the show itself. A number of artists employed video. Ranging from Alexander Györfi through Christian Jankowski, they each approached it in different ways and with different aims.

Space was also given over to Italian artists who have relocated to Berlin, such as Monica Bonvicini and Gabriele Basilico, allowing them to relate what impact their new situational context has had on their work. It therefore follows that La costruzione di un’immagine doesn’t offer a singular vision, but presents, instead, a variety of identities, at times subtle, at others unlikely. The concept of “German-ness” is more readily theorized than encapsulated in a precisely defined style.

The merit of this exhibition is that it displays the various current trends without imposing preformed or predefined ideas, and yet it does not resemble a hortus siccus—a herbarium whose specimens lack taste and aroma. If a predominant flavor can be sensed, then perhaps it is a tendency for meticulous organization. This holds true irrespective of the media employed, innovative and futuristic interpretations notwithstanding. Antje Schiffers, who still paints using an easel en plein air and who might be considered the group’s “outsider,” works to carefully preplanned designs and a decidedly Teutonic approach.




Milovan Farronato
Translation by Rosalind Furness