life on
mars
55th Carnegie International
5.3.08-1.11.09
Featured Artists
- Doug Aitken
- Kai Althoff
- Mark Bradford
- Vija Celmins
- Phil Collins
- Bruce Conner
- Cao Fei
- Peter Fischli & David Weiss
- Ryan Gander
- Daniel Guzmán
- Thomas Hirschhorn
- Richard Hughes
- Mike Kelley
- Friedrich Kunath
- Maria Lassnig
- Sharon Lockhart
- Mark Manders
- Barry McGee
- Mario Merz
- Marisa Merz
- Matthew Monahan
- Rivane Neuenschwander
- Manfred Pernice
- Susan Philipsz
- Noguchi Rika
- Wilhelm Sasnal
- Thomas Schütte
- Ranjani Shettar
- David Shrigley
- Paul Sietsema
- Rudolf Stingel
- Katja Strunz
- Paul Thek
- Wolfgang Tillmans
- Rosemarie Trockel
- Apichatpong Weerasethakul
- Andro Wekua
- Richard Wright
- Haegue Yang
Audio/Video Library
Artist's Lecture: Haegue Yang
Posted 10|13|08
Artist's Lecture: Ryan Gander
Posted 09|29|08
Remainder, a new process/performance by Attack Theatre: Phase one
Posted 09|23|08
Website Design & Development:
Wall-to-Wall StudiosWhat's Happening:
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Life on Mars ends Jan. 11.
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Additional screening Thursdays at 5:00 p.m.
Free with Museum admission
Running time: 138 min.
schedule is subject to change -->
Artists
Katja Strunz
Born: 1970, Ottweiler, Germany
Lives and Works: Berlin
In her sculptural installations and works on paper, Katja Strunz transforms found and humble materials—scrap metal, wood, and old pages or photographs from books—into playful, fantastical, and somewhat mysterious landscapes. Her works posit an intuitive and abstract language as they imbue the gallery space with intimations of memory or past phenomenona, paradoxically communicating both delicacy and aggression. She meticulously places the various forms in her installations to create constellations whose parts seem to be in direct communication with one another. Here Mirrors against identity (2008), an overlapping triangular structure, juts from the wall into the viewer's space; its sharp-edged steel forms suggesting an ominous presence. In A drop in time (five minutes later) (2008), a cluster of triangular shapes angle downward like a moth spiraling to the ground. The impact of Strunz's work registers through the sheer physicality of the objects and their carefully orchestrated relationships.