Rosemarie Trockel - Poetic Illegality - image-1
Rosemarie Trockel - Poetic Illegality - image-2
Rosemarie Trockel - Poetic Illegality - image-1Rosemarie Trockel - Poetic Illegality - image-2

Lot 61 R

Rosemarie Trockel - Poetic Illegality

Auktion 971 - Übersicht Köln
03.12.2010, 00:00 - Zeitgenössische Kunst
Schätzpreis: 38.000 € - 40.000 €
Ergebnis: 57.600 € (inkl. Aufgeld)

Rosemarie Trockel

Poetic Illegality
1989

Vitrinenskulptur (Wachs, Pflaster, Glas, Stahl).

Sidra Stich führt zur Skulptur "Poetic Illegality" im Ausstellungskatalog von 1991 erläuternd aus:
"In Trockel's art, the mixing of the idealized feminine with the mundane is a potent means of raising consciousness about the ways women have come to be classified and evaluated. Without question, the body and what has been designated as “women's work” are powerful signifiers. This is especially evident in “Poetic Illegality” (1989), where the focus is placed on feet. In the vitrine, the two oversized plaster forms convey crude, misshapen images of well-worn, cracked, and wrinkled feet or footprints. Above them, outside the protective case, is a pair of scrub brushsandals, one of which contains a diminutive black foot. While the inside-outside placement undermines value judgments about which things warrant preservation and study, the imagery itself ridicules fashion trends that establish hierarchies between, say, black and white skin, stylish trappings and chore implements, or “normal” and freakish body form. Further displacement occurs since the style of shoes makes reference to the footwear fashion originally associated with Asian women of considerable wealth, who did not perform household tasks like scrubbing floors. In addition, the small size of the black foot calls to mind aristocratic Chinese women whose feet were bound to conform to prevailing standards of beauty - standards that altered the natural appearance of the body and separated women who were solely objects to be looked at from women who did commonplace work. Trockel thus disturbs determinations of natural and beautiful while once again setting woman, regardless of her physical constitution, class, or race, within a zone that is here named 'poetic illegality'". (Sidra Stich, The Affirmation of Difference in the Art of Rosemarie Trockel, in: Sidra Stich, Rosemarie Trockel, Ausst.Kat. The Institute of Contemporary Art, Boston, u.a., Boston 1991, S.14/15).

Provenienz

Galerie Bugdahn & Kaimer, Düsseldorf

Ausstellung

Köln 2005/2006 (Museum Ludwig), Rom 2006 (MAXXI-Museo nazionale delle arti del XXI secolo), Rosemarie Trockel, Post-Menopause, Ausst.Kat. S.132 und S.96 mit Farbabb.

Boston 1991/1992 (The Institute of Contemporary Art), Berkeley (Art Museum), Chicago (Museum of Contemporary Art), Toronto (The Power Plant), Rosemarie Trockel, Ausst.Kat. Nr.46 mit Farbabb.