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With combative photography, Astrid Klein aroused a stir in the 1980s. An exhibition in Hamburg now recognizes her wayward feminist work.

Astrid Klein: The lead Wolf

With combative photography, Astrid Klein aroused a stir in the 1980s. An exhibition in Hamburg now recognizes her wayward feminist work.

Astrid Klein: The lead Wolf
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    Located a beauty in destruction. And no one destroys soschön like Astrid Klein. Especially when you rip and neuzusammensetzt images. A casually dressed young woman with Bobfrisurlutscht devoted to a strange thumb. In addition, a James-dean-like Beau looks up on two lovebirds, and a ladies ' pumps gently strokes inzwanzigfacher reproduction on a man's trousers leg.

    Collagen is art of allowing a new order to emerge from targeted disorder. For good reason, it dominates aestics of modernity. "Ilfaut être absolument moderne" demanded Rimbaud already 1873, Manmüsse be absolutely modern, and movement is also found on Kleinseingangs described collage. This was born in 1980. Klein lived a year as a young scholar in Paris. and dortdrang it deep into tomb of KollektivenBilderunterbewusstseins: a cellar under a newspaper kiosk in Rue de Rivoli. Countless piles of cinema magazines, photo novels, nightsoil leaflets. "On third day kiosk owner brought me coffee," says Klein. "I hinausgeschleppt tons of material." Pictures of seductive women, once staged for lust of men, she worked with scissors, tape and typewriter. Les tâches dominicales (Sunday works) is name of series. "In Paris I was surrounded by Mehrzahlvon male artists. The men looked at me Wieeinen strange Hummingbird, "says Klein. "This is how major series of Sunday works – typical woman, every Sunday a work – was created, which is quite a fine tip against macho airs."

    DiePariser anecdote and accompanying work explanation is fastschon too much biographical for an artist who is afraid of Interviewsmeist and cannot be photographed. Sometimes gelingtaber a meeting with 1951 in Cologne-born small, which proves reside conversation as self-ironic and ready-to-beat. Ihrrheinischer SingSong plays in lower octaves, and when accurate shoots crystal-clear set of volleys, even eloquent arguers like Harald Falckenberg are on defensive. The Hamburg collector appreciates artist. He already has seven tâches Dominicales and a photographic work of her gekauftund now also unconditionally handed out keys for SeineAusstellungsräume, so that she could hang IhreEinzelausstellung re: Transcendental HomelessCentralnervous – her first Overview show for ages. Despite a long career, SIESELBST is almost an insider tip.

    "It's a good feeling", says Klein about course of around 200teils extremely large-format works, which are distributed on 4,000 Quadratmeternder hall of Hamburg/collection Falckenberg. "I think really that this is best exhibition I have Jegemacht-simply because re is possibility to show so vieleverschiedene works." In fact, architecture of Falckenberg collection offers ideal conditions: Flycatcher III, Einevier meter high towered sculpture made of electric insect catchers, takes place in a corner of ground floor without any problems. and Eineriesige canvas with a painted Carine Deneuve is surrounded on einerTreppenwand despite 5.30 meters of edge length of much schmückendemWeißraum.

    This article is from World Art issue No. 144/2018. © World Art Verlag

    BeimAusstellungsrundgang is now immersed in versatile oeuvre EinerKünstlerin, which was trained from 1973 to 1977 at Cologne Fachhochschulefür Art and design – as "painter UndBildhauer", as it emphasizes itself in masculine form: in a small chamber in Ground floor hangs dozens of klebrigeFliegenfängerpapiere from ceiling (Flycatcher I of 1981), Unddazu The piano piece is heard from diary of a Fly VonBéla Bartók. You encounter wall sculptures made of neon filaments that were labeled with words, such as untitled (Memory overflow). or white paintings painted with alabaster plaster and zinc white, in whose empty centers scattered words flicker like images: "Remembrance of a Memoryless". In between, Mansich delves into her well-known photographic works. With se hatKlein found images are photographed again and negative danachmontiert, manipulated, scratched, insRiesenformated to granular blow-up aestics and compressed with written commentary – Teilszu matic explosive, as in work untitled ( Failure) von1987 of greed, money and gender issues. And partly deliberate content vagueness as in factory Untitled (player) von1979.

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