new-york

Rosemarie Trockel

Dia Center for the Arts

First encounters with Rosemarie Trockel have often left American viewers puzzled. The many narrative routes into her work, plus the specificity of her German-language references, can appear unfathomable. Yet this didn’t prevent a favorable critical consensus from emerging here in the 1990s. Indeed, the very notion of missed signals is at the heart of her practice, as demonstrated by a sub-installation in her latest appearance in New York. Two cases displayed maquettes for about two dozen unrealized book and catalogue projects conceived between 1983 and 2000. One book, Looking at Idols, 1984, would have gathered interviews among friends like Martin Kippenberger and Jiří Georg Dokoupil but was scuttled because they “couldn’t find any suitable photo-material.” The failure provides source material for a meditation on the haphazardness of the creative process.

Still, Trockel’s main installation

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