It must have taken no less of a Herculean
hysteria to actually assemble and enunciate a vocabulary of feminist sculpture
in the land of the Masters — a task that Genzken performed with
a dogged and eventually triumphant obstinacy that associates her with
her admired fellow Hanseatic elder Hanne Darboven. Yet, typically, just
when Genzken had fully formed that vocabulary in her wooden hybrids —
ranging from paeans to the utopian promises of luminously colored biomorphic
abstraction and proto-utilitarian mechanomorphic devices for submarine
and extraterrestrial locomotion — she abruptly canceled all continuity
and abandoned the holistic splendor of her immaculate conceptions in favor
of an aesthetic of rupture, rubble, and architectural fragments (at the
very moment her work — included in the 1982’s documenta
7 — had finally become widely visible). |
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This sudden inversion signaled yet another
schism, or a double reversal, in Genzken’s sculpture. First of all,
her new work now negated the Constructivists’ confidence in an alliance
of sculptural and techno-scientific rationality that American Minimalism
had proudly presented as salvaged. In acts of almost programmatic dis-identification,
Genzken now severed all ties with American-type abstraction, its colors
and its morphologies. Negating her sculpture’s perfectly executed
stereometrical forms, she opted in favor of an aesthetic of dispersal
and dissemination (of monochrome gray matter such as cement and concrete)
and of architectural fractures. These were the very principles and materials
she now rediscovered as having governed atopian objects and spaces from
Kurt Schwitters to Beuys. |
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Genzken’s return to the local idioms
was prompted furthermore by the fact that her once utopian models had
reached the size and scale of public space and the condition of simultaneous
collective perception that all serious sculpture in the twentieth century
had aimed for. Probing the credibility of her commitment to such utopian
aspirations under the conditions of postwar Germany, Genzken now reverted
to the melancholy of ruined interiors and fractured bunker shards. Not
only negating any notion of an innate sculptural dynamic toward architecture
and collective public experience in the present, her ruinous refusals
assaulted the governing codes and prevailing conditions of German reconstruction
architecture in all its misery. |
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Her early forays into photography were equally
astonishing and even less recognized. Having been engaged at the academy
in dialogues with the soon-to-be-prominent members of Bernd and Hilla
Becher’s class — in particular, Candida Höfer and Thomas
Struth — Genzken produced Hi-Fi, 1979, an extraordinary
series of photographs that presaged her future, deployment of endless
accumulations of mass-cultural imagery in collage books as an integral
complement to her sculptural disarticulation of the terror of the daily
object world. In this series, Genzken traced the most seductive —
rigorous — designs of what was then contemporary Japanese stereo
equipment (in manifest opposition to the Becher school’s fixation
on architecture) as a visual regime in which all avant-garde aspirations
for the transformation of everyday life now lay entombed. |
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