PRINT December 2009

Sabine Breitwieser


1 “Isa Genzken: Open, Sesame!” (Whitechapel Gallery, London, and Ludwig Museum, Cologne) It has already been almost ten years since Genzken added antennae to a model of Philip Johnson’s AT&T Building in New York—putting a cuckold’s horns on the architect’s commercialized reaction to Miesian modernism (Deutsche Bank Proposal, 2000)—and yet the artist is still unrivaled in the courage she demonstrates in continually and radically rethinking her practice. When the shock and controversy that follows each new body of work dies down, what remains is the consensus that she has once again created something extraordinary. Often overlooked, however, is that Genzken is also a master of display, even in difficult-to-manage spaces. This was particularly evident in the Cologne version of this retrospective, organized by Nina Gülicher and Kasper König, which opened in a

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