Christa Näher

Galerie Janine Mautsch

All of a sudden it’s pigs. While collectors, critics, and the public muse over the obsessive violence in images of wounded horses and dogs roaming through gloomy vaulted passageways, Christa Näher, driven by an inner force, feels compelled to unloose a herd of swine in a monumental triptych. To expect Näher to offer a well modulated explanation of this switch from the noble horse to the pig would be to misunderstand both the artist and her work. It would be easy to assume that the pigs are just more of the novelties the art world constantly demands, but this is precisely what they aren’t, at least not in the superficial sense of the novelty as a mixture of mercantile and formalistic imperatives.

Since Näher’s appearance on the art scene barely two years ago, each of her shows, whether solo or in a group, has noticeably broken with the previous ones. The path leads from her initial, violently

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