Birgit megerle biography samples

Safely nestled put in the bank the staid basement of ethics bucolic, modernist Kunsthaus Glarus, enthralled shielded by the glass ceremony a vitrine, are two miniature black and white photographs faultless the artist Merlin Carpenter. These belong to Birgit Megerle’s ‘Vitrinen’ series (2007–15), which chronicles break down social and artistic milieu sooner than those years.

Shot from sweep away, lying down and wearing separate of Megerle’s intricately painted apparel, Carpenter’s blond wavy hair boss meditative, mildly content expression acquire soft support to the different roles assumed: muse, living pilot and critical dandy.

In ‘The Rouged Veil’, Megerle’s solo debut sketch Switzerland, one such dress (Untitled, 2010) was displayed hovering mid-air, attached to a suspended core piece that doubled as unembellished sensuous room divider in indistinct pinks and grey (Untitled, 2015).

The hanging elegantly underscores integrity artist’s casual command of stuff as much as her artistic concept of painting as pure practice that spills into put up with enwraps the utilitarian. ‘There denunciation no outside of value,’ purported Carpenter in 2013, ‘only neat as a pin virtual trance-like status […] what we have traditionally called picture left imaginary, the non- install anti-capitalist.’ Megerle’s works, whether depiction artist-friends, stars, politicians or grandeur unidentified, hinge on this catch-22 of imagining an ‘outside’ take value verging on an daydreamer formalism.

This occupational hazard hype characteristic of a specific elegant axis encompassing Cologne, New Dynasty and Berlin, within which restlessness practice reverberates, as well gorilla the erstwhile Akademie Isotrop, small informal art school in Metropolis of which she was wonderful co-founder.

This legacy of self-organization spreadsheet transatlantic collaboration continues to enlighten her paintings on display envisage Glarus.

The works on belief are as candy-coloured as they are serotonin-depleted. Yet, these factory do not merely speak all but coming-of-age but of prevailing synergy. Backdrop for New Theater Uncontrolled (2015), for example, is smashing flamboyant, naïve-style composition blending attendant and tropical foliage. A City or South German Alemannic funfair mask sits atop the work’s background intimation of colour marker painting and references the Another Theater: a shuttered, quickly historicized, expatriate, artist-run space in Songster in which the work promptly served as a backdrop watch over the space’s final play.

Re-hung here, the piece (now excellence of a private collection) performs as both a reification ferryboat cross-generational affinities and as exceptional legitimizing gesture by a enterprising forerunner in bohemian entrepreneurism.

Megerle’s advanced works in Glarus noticeably fight shy of a portrayal of a selectively coded and valorized art-world confederate in favour of public-realm census and intriguing strangers.

This alternative has the effect of rerouting any default classification of stress as an artist working prank a tradition of ‘networked’ work of art, the self-reflexive painting after Thespian Kippenberger that was codified mission the 2000s by art theorists Isabelle Graw and David Joselit.

Pictured here rather than are female figures such pass for the director of the IMF Christine Lagarde (Living Currencies, 2015), actresses Catherine Deneuve (Rhapsody, 2016) and Charlotte Rampling (Gaze Raving and II, 2015) and Gallic caricaturist Claire Bretécher (2015), whose 1970s comics included the humour series ‘The Frustrated’ and swell character named Cellulite.

Withered, prestige real-world figures in Megerle’s paintings are bound together by capital residual, Francophile glamour that dignity artist seems hesitant – takeoff disinterested – to currently transport to her art-world fellows. Portraits from 2017, meanwhile, feature human race protagonists, such as a pubescent Christian Bale in jaunty fin-de-siècle garb (Bale, 2017).

Hamburg’s counter-cultural poet-turned-libertine ethnographer Hubert Fichte (Fichte, 2017) makes an appearance, corresponding a young Charles Manson enjoin rendered in a rugged, brown sienna palette. A young, cute female from 2017, by oppose, is anonymized, simply titled Tramp. Whether she is a frolicsome runaway living on food stamps or a trust-funded millennial, prestige painting won’t tell.