London

Reinhard Mucha

Anthony D’Offay

The seven individual pieces in this show were to be understood, for the duration of the exhibition, to form a single large work. The installation took the gallery as yet another site of activity for the artist, drawing it into the flux of Reinhard Mucha’s reiterative, cannibalistic, and reflexive labor. Five of the works, four door pieces and one cloth-covered assemblage mounted on an old mattress base, carried the six-letter names of German railway stations. These—Aachen, Ehrang, Trevsa, Biblis, and Weimar (all 1993)—had been selected from amongst the 242 names first documented in Wartesaal, 1979–82. The other two works in the show—untitled reframings and reprises of material from and documentation of earlier installations in Frankfurt and Toronto—also involved looking back over old ground. Though characteristically an art of documentation and retrieval, Mucha’s work is not maudlin. Its

Sign-in to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.