Alina Szapocznikow, Cendrier de Célibataire I [Junggesellen Aschenbecher I], 1972, Acryl, Polyester, Harz, Zigarettenstummel, 11,5 x 12,5 x 11 cm, Privatsammlung ©ADAGP, Paris. Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris. Foto Fabrice Gousset.

Alina Szapocznikow

20.7.2018– 14.10.2018

19.00 Uhr

Kunsthalle Baden-Baden’s summer exhibition shows works from the polish artist Alina Szapocznikow (1926-1973). Following the presentation of individual works at documenta 12 and documenta 14, this extensive solo exhibition will be the first in Germany for this important artist. Until her untimely death, Alina Szapocznikow created an extensive and expressive Œuvre, which time and again revolved around the human body. In her sculptures and drawings she dismantled predominately the female body into fragments such as lips, breasts, stomachs, and appendages in order to reassemble them and to integrate them as traces into her largely abstract works. It was often her own body which, like an impression, found its way into the works. As a polish Jew, she spent many years of her youth in concentration camps before she relocated to Paris via Prague and moved there in the artistic circles of the Nouveaux Réalistes. After creating figurative sculptures with classic materials like bronze, she began to experiment with new materials like polyester and polyurethane in Paris, further breaking away from the uniformity of the sculptural form. Infatuatingly beautiful and at the same time often strange, the works touch on themes of memories, trauma, pain and eroticism. One can surmise influences from surrealism as well as pop art, especially due to the inclusion of everyday objects. In the last years of her life, her work was over-shadowed by her ever-nearing death, expressed in works like “Tumeurs personifies (1971). They express the fragility and transience of the body while simultaneously hanging on to waning life.

Nicole Eisenman, Weeks on the Train, 2015, Öl auf Leinwans, 208.3 x 165.1 cm, Sammlung Martin und Rebecca Eisenberg. Courtesy Anton Kern Gallery, New York

Nicole Eisenman

02.11.2018– 17.2.2019

19.00 Uhr

The exhibition year comes to an end with a solo exhibition by American artist Nicole Eisenman (b. 1965 in Verdun, France). In the 1990’s Eisenman made a name for herself in the New York art scene by constructing epic paintings with political and private motives. Despite her stylistic versatility which she confidently sets against fixed definitions and constraints, Eisenman developed an unmistakable style by combining classical painting styles and composition forms with influences throughout art history, underground and popular culture as well as current political and societal events. Most recently, Nicole Eisenman caused a stir with her reinterpretation of a baroque fountain for the Skulptur Projekte Münster 2017. At the Vienna Secession in 2017, she displayed completed paintings and drawings which arose as a direct result of the last US presidential election. Eisenman frequently made power structures and the powerless individual the subject of discussion by means of apocalyptic scenes. Espacially for the exhibition in Baden-Baden produced new sculputures are shown in Baden-Baden aswell.