Bregenz

Draft rendering of the third floor for Bunny Rogers’s 2020 four-level exhibition at Kunsthaus Bregenz, Austria.

Draft rendering of the third floor for Bunny Rogers’s 2020 four-level exhibition at Kunsthaus Bregenz, Austria.

Bregenz

Bunny Rogers

Kunsthaus Bregenz
Karl-Tizian-Platz

Curated by Thomas D. Trummer

Inside a folder labeled LAMB GRAVES on Bunny Rogers’s website everybodydiesbut.me is a seven-page spreadsheet that lists burial sites of children (BABES, OUR DARLING). Most entries include a thumbnail photo of the tombstone, its inscription (JUST ASLEEP, AT REST), the year of death, and the location. Elsewhere, in a folder called alternately IN HEALTH and HELL, Rogers has posted an obituary-like portrait of herself as a teenager. An expired countdown clock on her main site, meryn.ru, once ticked off the hours until Rogers would outlive those in the “27 Club,” including Jimi Hendrix, Kurt Cobain, Amy Winehouse, Basquiat, and the first member, Robert Johnson. The artist, very much alive and turning thirty this month, has channeled her affective fixation on mourning and melancholia into an exhibition that will occupy the Kunsthaus Bregenz’s four mausoleum-like concrete floors—an appropriate setting for installations inspired by American funerals. A concrete-cast rose for you, darling Bunny.