Isa Genzken

Kunsthalle Zurich

When Isa Genzken concluded work on her roughly six-year series of concrete sculptures in 1992, her turn to glass and mirrors might have signaled greater rationalization of her practice. The heavy slablike structures mounted on metal stands, which had defined much of her work in the late ’80s, were unruly, their pockmarked walls often suggesting buildings on the verge of collapse. The hard-edged, smooth surfaces of glass implied more stable forms, a cleaning up of her act. This new survey of work from the past decade, with its focus on recent projects, revealed that her practice has continued to fluctuate wildly between the poles of restraint and caprice.

Cued by late Minimalism, Genzken has always explored the relations between sculpture and the social space of architecture, with references to everyday lived experience intruding on her formal experiments. But this happens in a surprising

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