Daniela Stöppel

  • View of “Perverted Minimalism Nr. 2,” 2011.

    Perverted Minimalism Nr. 2

    If you take the phrase “Perverted Minimalism” at face value, then the four artists in this group show which they themselves initiated—Claudia Djabbari, Hedwig Eberle, Anna Friedel, and Franka Kaßner—are doing something twisted with a classic art movement. In more general terms, they are self-critically questioning an artistic practice that often gets subsumed under the general heading “formal reduction.” Djabbari’s sculptural analyses unmask the inhospitable architectural geometries of modern apartment complexes. Kaßner’s sculptures and mixed-media works, too, have clear political

  • View of “Marzena Nowak,” 2011.

    Marzena Nowak

    In video, installation, and painted works, Marzena Nowak presents the human body as the site of psychic sensations and states of excitement. In the past, the artist has used a phrase from Freud, “Die Psyche ist ausgedehnt” (The psyche is expansive), to describe her project, representing a view of the body as both part of and an extended expression of internal processes. Experimental approaches to the body—measuring, localizing, temporalizing, and wounding it—constituted a central theme in the avant-garde art of the 1960s and ’70s, one that has remained an important component of

  • Martin Wöhrl

    “Was auf der Alm eine Alm ist, ist in der Stadt ein Stüberl” (What on alpine meadows is an alpine hut is a cozy little pub in town): In the catalogue for Martin Wöhrl’s new show, this is how writer Andreas Neumeister describes the institution of the beer or wine hall typical of many German cities, along with its transformation from alpine authenticity to a globally recognizable cliché signifying beery (or winey) coziness. Tied up with the iconography of the Stüberl is the wooden barrel, a kitschy symbol of tradition and conviviality found everywhere in the German urban landscape, in the form of