quodlibet

every exhibition holds something stimulating and exciting for me. archaeology – ethnology – the art of the centuries – everything is moving. working on exhibitions at the munich museum five continents has repeatedly led to points of contact with tibet (cham dancer), mongolia and the objects in the stacks, which often seem alive with their massive presence and charisma (tabasco).

the series of major african shows in the nineties, reinforced by visits to the exuberant magazines of the musée de l’ homme in paris, led to a series of fetish paintings and mask drawings.
horst ante’s large kachina collection not only led to an intensive preoccupation with the pueblo indians, but also found expression in the first large-format street scenes with kachinas. last but not least, my birthday at the beginning of november led to a preoccupation with the death rites in southern mexico (dia de los muertos).

with political statements in art, there is often a fine line between the reaction to and the representation of hard facts (war) or circumstances (flight). in my dreikönig series, i was nevertheless driven by the direct realization of my astonishment at the capitol storm.

“culture is encoded wisdom” wangari maathai