Bunny Rogers, Locker Room, 2020, mixed media. Installation view.

Bunny Rogers, Locker Room, 2020, mixed media. Installation view.

Bunny Rogers

Kunsthaus Bregenz

“Thinking is linear; emotions are space,” said the Swiss architect Peter Zumthor. His acclaimed Kunsthaus Bregenz was the setting for an extraordinary exhibition by Bunny Rogers, who turned the cast-concrete cube into a mausoleum. Her sprawling show, “Kind Kingdom,” consisted of four allover environments, one on each of the gallery’s floors. The immersive tableaux could be taken in with all senses: Scent, sound, even room temperature enhanced the visual dimension. Rogers’s art speaks loud and clear—evoking themes of loneliness and loss, kitsch and garbage, melancholy and paranoia, Lady Diana and the sinking of the Titanic, beauty, youth, adolescent binge drinking—while always foreshadowing the inevitable end.

Rogers’s memento mori started in the nocturnal chiaroscuro of the lobby, where she imagined her own funeral in Memorial (all works 2020), comprising a grave mound, bluish-black roses

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