04.07. – 04.11.2017
Das ernste Spiel

Mary Bauermeister

Mirror boxes, paintings, and installations

Mary Baumeister’s artistic personality and works are as dazzling and multifaceted as any crystal or prism, which she sometimes uses in her works. A prism can both connect and intensify light rays, but it can also diffuse and break them up. Bauermeister is and was the central point and catalyst of many creative energies, and her works pale in comparison to her countless contacts and activities. At the same time, she shares the fate of many artists from her generation (Carmen Herrera, Greta Barescu, Maria Lassnig, Yoko Ono), who first gained recognition very late with museum collections, if at all. She is known as a key figure in the Fluxus movement who found an international meeting place for like-minded people in Cologne at the WDR music studio, which was avant-garde at the time.

The fact that she herself made artworks independently is often forgotten. However, this likely happened because her work was so multifaceted and diverse that it couldn’t simply be attributed to any particular genre. Another factor was that the categorizations that had existed previously were largely abandoned in the ’60s. Further expectations of art, such as the concept of opera aperta, which states that everything is open to interpretation and anything has the potential to be art, also make categorization more difficult.



Photo credits

One Day in New York, 1994 – 2009, Foto: Atelier Mary Bauermeister
Horizontale Skulptur mit Steinkreisen, 1986/1992, Foto: Tilmann Krumrey
Lichttuch, 1963, Foto: Peter Hinschläger
Ohne Titel (Lichttuch), 1963, Foto: Tilmann Krumrey
Mary Bauermeister, 2013, Foto: Oliver Mark
Rotes Punktstrohhalmbild, 1958, Foto: Peter Hinschläger
Mary Bauermeister, Glaskugel, 1965, Foto: Hans Namuth
Ohne Titel (Steinkreis), 1962/2013, Foto: setform.de, 401contemporary Berlin
Quadrupel Twins, 2015, Foto: Atelier Mary Bauermeister