cologne

Ina Barfuss

Galerie Sprüth

However much young artists today may strive to return their work to the traditional sites of art distribution, the gallery and the museum, the museum’s solemnity (often conveyed by the use of expensive media, as at 1982’s Documenta 7) is probably their least concern. In northern Europe, in opposition to art concerned with the mad, sensuous world of gods and demons, one finds indications of an angry settling of accounts with the outmoded norms of the petit bourgeoisie. This trend is not restricted to any one style, content, or medium, and these three exhibitions threw light on its development.

Ina Barfuss, frequently in collaboration with Thomas Wachweger, holds a unique position among the so-called Heftigen (Violents), a group dominated by Salomé, Rainer Fetting, and Helmut Middendorf. Although her painting draws on the legacy of the 20th century, it is altogether in context with the esthetic

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