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Michaela Eichwald, No Drink No Talk Just Beautiful, 2011

Michaela Eichwald
No Drink No Talk Just Beautiful (detail), 1998–2011
Collage

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Installation view, Michaela Eichwald

Installation view (Michaela Eichwald)

Installation view, DAS INSTITUT and Jutta Koether

Installation view (DAS INSTITUT and Jutta Koether)

Installation view, Mary Simpson and Michaela Eichwald

Installation view (Mary Simpson and Michaela Eichwald)

Installation view, Michaela Eichwald and Sarah Charlesworth

Installation view (Michaela Eichwald and Sarah Charlesworth)

Installation view, Sarah Charlesworth, Mary Simpson, and Jutta Koether

Installation view (Sarah Charlesworth, Mary Simpson, and Jutta Koether)

Installation view, Kerstin Bratsch and DAS INSTITUT

Installation view (Kerstin Brätsch and DAS INSTITUT)

Jutta Koether, Untitled (acephalic, a-phallic, part 2), 2011

Jutta Koether
Untitled (acephalic, a-phallic, part 2), 2011
Acrylic on canvas
15-3/4 by 19-3/4 inches (36.2 by 46.4 cm)

Mary Simpson, This Gone This Bone, 2014

Mary Simpson
This Gone This Bone, 2014
Oil on canvas
30 by 28 inches (76.2 by 71.1 cm)

Mary Simpson, Boys or Women, 2014

Mary Simpson
Boys or Women, 2014
Oil on canvas
90 by 50 inches (228.6 by 127 cm)

Mary Simpson, Fanfare, 2014

Mary Simpson
Fanfare, 2014
Oil on canvas
90 by 50 inches (228.6 by 127)

Mary Simpson, The Swimmer, 2012

Mary Simpson
The Swimmer, 2012
Single-channel HD (color, sound)
7 minutes

Michaela Eichwald, Untitled, 2008

Michaela Eichwald
Untitled, 2008
Metal and plastic dressmaker’s tool, rubber hand, and wire
23 by 6 by 6 inches (58.4 by 15.2 by 15.2 cm)

Sarah Charlesworth, Allegory of the Arts, 1995

Sarah Charlesworth
Allegory of the Arts, 1995
Cibachrome print with mahogany frame
51 by 41 inches (129.5 by 104.1 cm)

Jutta Koether, Untitled (Mad Garlands Open Up, part A), 2011

Jutta Koether
Untitled (Mad Garlands Open Up, part A), 2011
Acrylic on canvas
15-3/4 by 19-3/4 inches (36.2 by 46.4 cm)

Kerstin Brätsch, Untitled (from Psychic series), 2007

Kerstin Brätsch
Untitled (from Psychic series), 2007
Oil on paper
105 by 80 inches (266.7 by 203.2 cm)

DAS INSTITUT (Kerstin Brätsch and Adele Röder), When You See Me Again It Wont Be Me (green), 2014

DAS INSTITUT (Kerstin Brätsch and Adele Röder)
When You See Me Again It Wont Be Me (green), 2014
3 Pigment prints
19-1/4 by 42-1/2 inches (47.6 by 105.4 cm)

DAS INSTITUT (Kerstin Brätsch and Adele Röder), When You See Me Again It Wont Be Me (yellow), 2014

DAS INSTITUT (Kerstin Brätsch and Adele Röder)
When You See Me Again It Wont Be Me (yellow), 2014
2 Pigment prints
19-1/4 by 28-1/2 inches (47.6 by 69.9 cm)

DAS INSTITUT (Kerstin Brätsch and Adele Röder), When You See Me Again It Wont Be Me (red), 2014

DAS INSTITUT (Kerstin Brätsch and Adele Röder)
When You See Me Again It Wont Be Me (red), 2014
2 Pigment prints
19-1/4 by 28-1/2 inches (47.6 by 69.9 cm)

DAS INSTITUT (Kerstin Brätsch and Adele Röder), When You See Me Again It Wont Be Me (blue), 2014

DAS INSTITUT (Kerstin Brätsch and Adele Röder)
When You See Me Again It Wont Be Me (blue), 2014
2 Pigment prints
19-1/4 by 28-1/2 inches (47.6 by 69.9 cm)

Kerstin Brätsch, Untitled from the series: "All Ready Maid Betwixt and Between", 2013

Kerstin Brätsch
Untitled from the series “All Ready Maid Betwixt and Between”, 2013
Luster on antique glass
37-3/4 by 15-1/4 inches (92.1 by 37.5 cm)

Kerstin Brätsch, Hallo Vitamine from the series "All Ready Maid Betwixt and Between", 2013

Kerstin Brätsch
Hallo Vitamine from the series “All Ready Maid Betwixt and Between”, 2013
Enamel and luster on antique glass
37-3/4 by 15-1/4 inches (95.9 by 38.7 cm)

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No Drink No Talk Just Beautiful

June 28 – August 1, 2014

Kerstin Brätsch
Sarah Charlesworth
Michaela Eichwald
DAS INSTITUT
Jutta Koether
Mary Simpson

Allegory is not a future problem. It relies on the past to retell the present. Allegory desires and consumes: the fragment, the imperfect, the incomplete. It promises to resolve the contradictions that confront culture, it is perpetually deferred. Allegory insists on abstraction and gesture within narrative space, producing something more like a pictogram than a story or a history. It is a supplement, it is excessive, it disseminates, it is a parody.

Painters insist that allegory is real. The allegorist arrives at symbol through intuition. She tends toward the mythological and psychological resonance of a landscape, a ruin, a surface. She collects without a goal, piles up the ruinous colors, poses and possible steps. This has been likened to obsessive neurosis. The directorial mode of painting does not bend to historical reference. You want to know exactly what it refers to, but you don’t. The allegorist is self-scattering, she adds another meaning to the image, poses as its interpreter. She stages disruption, she mocks her own obsessions. She aims for the metaphysical heart of parody. Parody is a serious matter.

We can think of an artist as producing a model for seeing an image, a model for the observer — not an image of the body but a body for the image.

— Mary Simpson

***No Drink No Talk Just Beautiful was first a drawing on an invitation for a show by Gunar Wardenbach at the Instititut für Theater-, Film-, und Fernsehwissenschaft, Köln in 1990. Wardenbach’s friend Michaela Eichwald collaged a fragment from the invite into a painting of the same title in 1998, which was shown at Zuordnungsprobleme, Johann König Berlin, in 2008. In 2011 Eichwald made collages and here the fragment showed up again in the painting Memory-Klinik-Notluke-Persönlichkeitsschale. Eichwald’s collage with Wardenbach’s fragment will be reprised once more as a printed flyer along with an allegorical response by Fionn Meade, available during the exhibition.

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