zurich

Manon

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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