This week: We talk to artist Katharina Fritsch!
Richard says “cock” and “Hologram Tupac” a whole lot.
Katharina Fritsch is known for her sculptures and installations that reinvigorate familiar objects with a jarring and uncanny sensibility. Her works’ iconography is drawn from many different sources, including Christianity, art history and folklore. She attracted international attention for the first time in the mid-1980s with life-size works such as a true-to-scale elephant. Fritsch’s art is often concerned with the psychology and expectations of visitors to a museum. Gary Garrels wrote that “One of the remarkable features of Fritsch’s work is its ability both to capture the popular imagination by its immediate appeal and to be a focal point for the specialized discussions of the contemporary art world. This all too infrequent meeting point is at the center of her work, as it addresses the ambiguous and difficult relationships between artists and the public and between art and its display—that is, the role of art and exhibitions and of the museum in the late twentieth century.” The special role colour plays in Fritsch’s work has roots in her childhood visits to her grandfather, a salesman for Faber-Castell art supplies, whose garage was well-stocked with his wares.
Her most recognized works are Rattenkönig/Rat King (1993), a giant circle of black polyester rats, included in the 1999 Venice Biennale. Other works include Mönch (Monk) (2003), a stoic, monochromatic male figure, made of solid polyester with a smooth, matte black surface; Figurengruppe / Group of Figures (2006-2008), an installation of nine elements; and Hahn (Cock) (2010), a 14ft (4.3m) cockerel in ultramarine blue to be shown on London’s Trafalgar Square in 2013.
In her working process, Fritsch combines the techniques of traditional sculpture with those of industrial production. While many of her early works were handcrafted, Fritsch now makes only the models for her sculptures and then hands these over to a factory for production, to near-pathological specifications. She uses these models to create moulds, from which the final sculptures are cast in materials such as plaster, polyester and aluminium. Many are made as editions, meaning that multiple casts are taken from one mould. For the duration of some of her exhibitions, Fritsch has made her multiples available for sale at the respective museums.
The fourth plinth in London’s Trafalgar square has been on our radar for a while and I am sure will continue to be so since the British government plans on using it as a compliment to the Turner prize or so by using it as a soapbox to debate and showcase contemporary art.
The current work that is on display at the plinth, Yinka Shonibare’s Nelson’s Ship in a Bottle is slotted to be taken down in 2012 and the fight to see who gets the spot in time for the Olympics has begun. Here is a quick rundown of the shortlist via UK’s The Independent (my money is on Katharina Fritsch) :
Michael Elmgreen and Ingar Dragset A sombre wit underpins the serious nature of work by the Scandanavian couple who have collaborated since they met in 1995. They have made work in memory of gay victims of the Nazi regime and, in 2005, they built a Prada boutique in the middle of the Texan desert. Whatever their proposal for Trafalgar Square, we hope they don’t lose their sense of humour.
Mariele Neudecker German born, 45-year-old Neudecker made her name with sculptures of landscapes, placed inside glass vitrines. Self-contained worlds, that come out of the Romantic tradition in art – although her work is anything but traditional. She used the cry of seagulls on London’s Millenium bridge in 2008. And she sank a boat and a house underwater that question our relationship with the environment.
Allora & Calzadilla Allora and Calzadilla are an artist couple who live in Puerto Rico. Their work is usually political and they have a strong reputation in the UK. At the Serpentine gallery in 2007 they made a large chamber, like a war bunker, and inside musicians played military music. They work in many mediums, using film, sound, sculpture, performance and photography.
Hew Locke Locke’s work explores colonial themes in an exuberant kind of pop art. He has played with ideas about the British royal family. Princess Diana became a voodoo doll and he covered a figure of the Queen Mother with skulls. He critiques the past, looking at how our world interrelates: from African wars to empire, pop culture to Shakespeare.
Katharina Fritsch Like the Surrealists, Fritsch is known for artwork that makes the familiar appear strange and uncanny. Born in Germany, Fritsch has represented her country at the Venice Biennale and had major exhibitions at London museums. Giant rats and monochrome men wearing suits appear in her work, which have popular as well as critical appeal. She is a mature artist and her proposal will be polished and spectacular.
Brian Griffiths An eccentric sense of adventure runs through sculptures by Griffiths. A graduate of Goldsmiths college, the British artist has used old furniture to construct an elaborate wooden gyspy caravan. His work plays with myth as well as history and his sculpture comes from an imaginary world as fantastical as a child’s. No doubt, his proposal for the Fourth Plinth will be made from old junk but his idea, we hope, will contain a touch of magic.
- Also Museum of Contemporary Art Cleveland (MOCA) has been greenlit to start construction on it’s $150-plus million development project in University Circle later this year and be completed in 2012. Read More Here
- We talked a while back about the Guggenheim’s Youtube partnership entitled “Play” where artists were invited to submit their videos to possibly be part of a juried exhibition later this year in every one of their museums. Well that jury list has been announced: Takashi Murakami, Ryan McGinley, Douglas Gordon, Marilyn Minter and Shirin Neshat, artists known for their work in a variety of mediums; Stefan Sagmeister, a graphic designer; Laurie Anderson, the performance artist, musician and filmmaker; the music group Animal Collective; and the filmmakers Darren Aronofsky and Apichatpong Weerasethakul. Read More Here
- Sorry but I have a hard time calling something revolutionary or defying categorization when it’s been done for over two decades in general and over a decade by Michigan Avenue Ad houses. Its akin to saying an artist doing Matrix style bullet time video leaves you speechless if it was done in 2040. Film is sequential still frames that create motion, find something to write about NPR that is actually Art if you want to be breathless NPR not a music video esque work done in After Effects. It’s only slightly annoying when Artists speak of their work as revolutionary, interdisciplinary or an exciting hybrid that redefines a genre since it’s hard to promote as a artist but it is greatly annoying when a publication ruberstamps such hyperbole as true. I know it’s the NPR blog but….. still. Don’t Read More Here