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Inge Mahn

Inge Mahn and Nora Schulz (solo show)
Villa Salve Hospes, Kunstverein Braunschweig, Braunschweig
9 September - 12 November 2017

Inge Mahn, Säule, Gipssack ziehend, 1988/2017 Courtesy the artist and Kunstverein Braunschweig Photo: Stefan Stark
Inge Mahn, Säule, Gipssack ziehend, 1988/2017 Courtesy the artist and Kunstverein Braunschweig Photo: Stefan Stark

Presented in this dual exhibition are the works of Inge Mahn and Nora Schultz, representing not only two different positions in sculpture but also two artist generations.

Whereas Inge Mahn explores common assumptions about everyday objects and offers a new view on the ordinary through her sculptures, Nora Schultz is concerned with the dematerialization of sculpture. Filmed by drones, the materiality of her works recedes into the background through this translation into film, causing the sculptural work to occupy an intermediary realm between the tangibly real and virtually visible.

Kunstverein Braunschweig


Additional:

Inge Mahn

Grey Gold: at my fingertips (group show)
Kunstverein für Mecklenburg und Vorpommern, Schwerin
9 December 2017 – 13 February 2018

Inge Mahn, Drehender Weihnachtsbaum, 2007. Courtesy of the artist and Kunstverein für Mecklenburg und Vorpommern
Inge Mahn, Drehender Weihnachtsbaum, 2007. Courtesy of the artist and Kunstverein für Mecklenburg und Vorpommern

An exhibition focusing on male artists conforms so much to the underlying principles of the art world, that a gender-specific exhibition concept labeled “Art of men 65+” would seem absurd.
An exhibition of art by women over the age of 65 can be understood as a transitory reflex on the unequal relationship to the represented young and/or male art. The insight that such an gender-specific selection is potentially an implicit form of discrimination against the artists, clarifies that despite a consensus on women’s importance for an equal participation in exhibitions, the issue of underrepresentation in areas of art (and society) remains to be discussed.

Already at the beginning of the last century, Georgia O’Keeffe humorously noted the derogatory connotation of feminine art as trivializing, mystifying, or emotionally limiting: „The men liked to put me down as the best woman painter. I think I‘m one of the best painters.“
The attention to the artistic productive power of late works, expressed by the age restiction, could be interpreted as an indication of such developments as the current debates on the shifting of age limits in the pension system: to be obliged to continue to work instead of having the freedom to work.

Kunstverein für Mecklenburg und Vorpommern, Schwerin


Inge Mahn

K21 Ständehaus, Düsseldorf
1 April 2017 - 31 March 2018

Inge Mahn, Installation view, K21 Ständehaus, 2017. Photo: Achim Kukulies. Courtesy the artist and Kunstsammlung NRW.
Inge Mahn, Installation view, K21 Ständehaus, 2017. Photo: Achim Kukulies. Courtesy the artist and Kunstsammlung NRW.

The objects created by Inge Mahn (born in Cieszyn in 1943), many of them largeformat, are reduced to simple geometric forms, and betray a certain proximity to Minimalism. The surfaces of these cuboids, arches, spheres, and columns are by no means perfect, but are instead rough, irregular. They are consistently white – this artist’s preferred material being plaster. The forms of her objects allude to elements of the surrounding architecture, which are adapted and transformed into a new artistic language. Differently than in the cited prototypes,  however, the objects of Inge Mahn are devoid of utility, and their fragile surfaces quickly display traces of vulnerability, a condition of their materiality.

K21 Ständehaus, Düsseldorf