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16:34 Retrospective of Sigmar Polke in MoMA | |
The Museum of Modern Art presents the first comprehensive
retrospective of Sigmar Polke (German, 1941–2010) from April 19 to
August 3, 2014. Alibis: Sigmar Polke 1963–2010 is the first
exhibition to encompass Polke’s work across all mediums, including
painting, photography, film, drawing, prints, and sculpture. Widely
regarded as one of the most influential artists of the postwar
generation, Polke possessed an irreverent wit that, coupled with his
exceptional grasp of the properties of his materials, pushed him to
experiment freely with the conventions of art and art history.
Constantly searching, Polke studiously avoided any one signature style
or medium; his method exemplified the definition of alibi, "in or at
another place,” which also suggests a deflection of blame. This
exhibition places Polke’s enormous skepticism of all social, political,
and artistic traditions against German history and the country’s
transformation in the postwar period. Four gallery spaces on MoMA’s
second floor are dedicated to the exhibition, which comprises
approximately 300 works and constitutes one of the largest exhibitions
ever organized at the Museum. The exhibition is organized by MoMA with
Tate Modern, London. It is organized by Kathy Halbreich, Associate
Director, MoMA; with Mark Godfrey, Curator of International Art, Tate
Modern; and Lanka Tattersall, Curatorial Assistant, Department of
Painting and Sculpture, MoMA. The exhibition travels to Tate Modern from
October 2014 to February 2015, followed by the Museum Ludwig in
Cologne, in spring 2015. The exhibition is organized chronologically and across mediums,
ranging from the intimacy of a notebook to pieces that test the
architectural scale of most museum galleries. Among the many noted works
on view are 13 films by Polke, including eight which have never before
been available; a performance made for West German television that was
last seen when it aired in 1972; and a group of monumental paintings
made entirely of soot on glass that have never been exhibited in the
United States. A major publication accompanies the exhibition, comprising 16 essays
covering the entire span of Polke’s intermedial production, a
comprehensive narrative chronology, an interview with Benjamin Buchloh
on the groundbreaking 1976 solo exhibition of Polke’s work that he
curated, an illustrated checklist, and a bibliography of publications
from 1997 to the present. Texts are from a broad spectrum of artists and
scholars, most of whom have not previously published work on Polke. The
authors are Paul Chan, Christophe Cherix, Tacita Dean, Barbara
Engelbach, Mark Godfrey, Stefan Gronert, Kathy Halbreich, Rachel Jans,
John Kelsey, Erhard Klein, Jutta Koether, Christine Mehring, Matthias
Muehling, Marcelle Polednik, Christian Rattemeyer, Kathrin Rottmann,
Magnus Schaefer, and Lanka Tattersall.
 
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