Skulpturenpark Köln

 
KölnSkulptur 3 - 2001-2007
Participating artists
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Rosemarie Trockel
Rosemarie Trockel
L‘Arc de Triomphe
(Der armselige Baum / Die Zuwenignis), 2006

Two hanging Atlas-cedars (Cedrus atlantica Glauca pendula), aluminum

Permanent loan
Michael und Eleonore Stoffel Stiftung
represented at KölnSkulptur 3 4 5 6 7 8 9
With her pictures, drawings and small sculptures, as well as with large sculptures and objects, installations and video works, which she puts together in exhibitions to form comprehensive conceptions the artist, who today lives in Cologne, is pursuing strategies that cross the frontiers between mediums. Conflicting elements, such as (living) trees and a (dead) metal nose, Trockel integrates spatially and as a matter of content into a disturbing ensemble. The erotic connotations, allusions to the plight of the modern artist, the ironic, whimsical combination of sculpture and garden art - L'Arc de Triomphe goes far beyond levelling the threshold between nature and art.
Rosemarie Trockel
Ohne Titel, 1982/90
bronze

Courtesy Michael and Eleonore Stoffel Stiftung
represented at KölnSkulptur 2 3 4
Rosemarie Trockel (b.1952 in Schwerte) has worked since the beginning of the 1980s in various artistic genres and mediums. With her pictures, drawings and small sculptures, as well as with large sculptures and objects, installations and video works, which she puts together in exhibitions to form comprehensive conceptions, she is pursuing strategies that cross the borders between mediums. The internal coherence of her complex works is determined by her continuous thematic focus on the socially and culturally determined function of symbols, emblems, codifications and specifically female perspectives. Drawing, frequently as a preliminary study for her threedimensional objects, is still today a genre in its own right within her creative work.
Der armselige Baum, 1999
Atlas-cedar, aluminum

Permanent loan Michael and Eleonore Stoffel Stiftung
represented at KölnSkulptur 2 3
She studied painting from 1974 to 1978 with Werner Schriefers at the Werkkunst School in Cologne. Her knitted pictures and cooker-hot-plate works - highly differentiated commentaries on the supposed production of female art, which are at the same time programmatic engagements with Minimal and Pop Art - created a sensation in the 1980s, especially in the USA (1988, Museum of Modern Art, New York; 1991, Museum of Contemporary Art und Institute of Contemporary Art, Boston). In Europe her work was made known by noted exhibition venues (e.g. in 1997, documenta X, in 1999, Venice Biennale along with Carsten Höller).
 
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