Helmhaus Zurich

The title of this show, “Manon—A Person,” suggested that the artist’s first retrospective was not meant simply to gather works but that instead, through works and documents, a woman, a whole human being, was being presented—and indeed, this was the only way to do justice to a personality who has been as much a myth as a real person since her first appearances in Zurich in the early 1970s. “Manon,” a pseudonym, has a tone somewhere between the familiarity of a first name and the distance of a diva, ruler of her own desires as well as of those she awakens. Early on, the artist linked art to fashion and subculture, performative and photographic self-staging, geometrically rigorous and baroque overflowing installations.

“The girl with the salmon-colored tie”—as she called herself in the artist’s book Manonomanie, 1975—first appeared on the artistic scene in 1974 with the installation Das

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