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Jill Giegerich

Like Marcel Proust and his madeleine, Jill Giegerich dips into the historical past, mining the mythology of Modernism so that its outward traces become a series of recalled memories. In Giegerich’s case, the esthetic sources are Cubism and Constructivism, reified orthodoxies that she reworks and reevaluates through a series of wall reliefs that the artist calls “constructions.” By carefully avoiding the loaded historical rhetoric usually associated with painting or sculpture, Giegerich is able to drain the vocabulary of artists such as El Lissitzky, Vladimir Tatlin, and Alexander Rodchenko of its original utopianism, and drive a wedge between the historically encoded past and the more pluralistic, ideologically skeptical present. Thus Giegerich’s work rests upon a provocative simultaneity. It is both a ghost image of a dead era and a highly material, autonomous statement in its own right.

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