On Affectionate Sabotage and Exemplary Suffering: An Audio Guide to Isa Genzken

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The artist in her studio, 1982. Image courtesy the artist and Galerie Buchholz, Cologne/Berlin.

Upon visiting Isa Genzken: Retrospective at New York's Museum of Modern Art, Rhizome's Community Manager Zachary Kaplan was struck by the relevance of the artist's practice to ongoing conversations that we observe and participate in at Rhizome every day, from her use of technological processes and goods to her deployment of globalized glurge and brand identity. We invited Tyler Coburn and Hannah Black, both artists and writers currently participating in the Whitney Independent Study Program, to walk through the exhibition and weigh in on these valences and connections. In particular, we asked them to keep in mind Rhizome's ongoing discussion of postinternet art (artworks in diverse media, particularly collage and assemblage, that can be seen as responses to a ubiquitous network culture). Their conversation worked both within and against this frame.

Below you will find images of works, excerpts from their chat about those works, and highlights from transcription. To download the whole file for while you walk through the exhibition, click here.

 

I.

"How could a woman do this kind of work?"

Isa Genzken. Rot-gelb-schwarzes Doppelellipsoid 'Zwilling' (Red-Yellow-Black Double Ellipsoid “Twin”), 1982. Lacquered wood, two parts Overall: 9 7/16 x 8 1/16 x 473 1/4″ (24 x 33.5 x 1202.1 cm) Part one: 5 1/8 x 8 1/16 x 236 1/4″ (13 x 20.5 x 600 cm) Part two: 4 5/16 x 5 1/2 x 237″ (11 x 14 x 602 cm). Collection of the artist. Courtesy the artist and Galerie Buchholz, Cologne/Berlin. © Isa Genzken

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