New York

Christian Lemmerz

DCA Gallery

In his first New York solo show, Christian Lemmerz delights in injecting death and decay into an otherwise elegant and precise post-Minimalist esthetic. In Body Bag 1 & 2, 1994, two black body bags are labeled “vagina.” Augenzeugen (Lucy) [Eyewitness (Lucy), 1993-94] presents nine fish tanks filled with formaldehyde and pigs’ eyeballs. Embryo (Anal) II is comprised of what looks like a brown fetus pulled out of someone’s asshole. Naturally, such a project produces a certain je ne sais quoi that an accompanying catalogue essay describes as “revulsion,” and the press release deems “Evil.” In a not too cryptic aphorism in his book Das Zeug (The stuff), Lemmerz himself writes “Revulsion technique: means to an end.” Whether you want to call it evil, revolting, or simplistic, the artist clearly equates this “stuff” with sex, death, and excrement.

If Lemmerz considers his work a “means,” is

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