Maria Eichhorn

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Maria Eichhorn (born 19 November 1962, in Bamberg) is a German artist based in Berlin. She is best known for site-specific works and installations that investigate political and economic systems, often revealing their intrinsic absurdity or the extent to which we normalize their complex codes and networks. [1] She represented Germany at the 2022 Venice Biennale. [2]

Contents

Background

Maria Eichhorn was born in 1962 in Bamberg, Germany. [3] From 1983 to 1990, she lived in Berlin and studied at the Hochschule der Kunste (Berlin University of the Arts) in the class of Karl Horst Hödicke. Since the late 1980s, her work has explored the relationship between the symbolic and the real, between the practice of art and direct actions geared towards positive changes in personal life, social relations and the human and natural environments. [4] She has exhibited since the late 1980s, including shows in Amsterdam, Berlin, Bern, Barcelona, Warsaw, Zurich and Tokyo. [5] She has taught at the School of Art and Design in Zurich since 2003.

Artistic practice

Maria Eichhorn's artistic practice challenges facile categorization. Her work has spanned a variety of genres and media from wall texts to artist books, staged events to interviews, broad-ranging symposia to public billboards, film and video, as well as institutions and provenance research. [6] [7] [8]  Works such as "Money at Kunsthalle Bern" (2000) and "5 weeks, 25 days, 175 hours" (2016) explore gallery systems and the structures that enable an exhibition space to function including facilities and working lives of gallery staffs. [9] [10] [11] Eichhorn's ambitious, large-scale projects often take on the mechanics of legal, social and financial processes, making permanent interventions that evolve over time. [12]

Selected exhibitions

Selected publications

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References

  1. ↑ Meskimmon, Marsha (2019). "Eichhorn, Maria". Grove Art Online. doi:10.1093/gao/9781884446054.article.T2021621. ISBN   978-1-884446-05-4.
  2. ↑ "Maria Eichhorn to Represent Germany at 2022 Venice Biennale". www.artforum.com. 17 February 2021. Retrieved 22 March 2021.
  3. ↑ Voinea, Raluca (2009). "Maria Eichhorn: Prohibited Imports (2003, 2009)". Idea. 33: 112.
  4. ↑ Christov-Bakagiev, Carolyn (1999). "Notes on some works by Maria Eichhorn". Afterall: A Journal of Art, Context and Enquiry. 1 (1): 27–45. doi:10.1086/aft.1.20711382. JSTOR   20711382. S2CID   183068290.
  5. ↑ "Maria Eichhorn". VOX.
  6. ↑ Alter, Nora M. "Maria Eichhorn's Projections". Journal Vox. 19.
  7. ↑ Alberro, Alexander (2005). "Specters of Provenance: National Loans, the Königsplatz, and Maria Eichhorn's "Politics of Restitutions"". Grey Room. 18: 64–81. doi:10.1162/1526381043320769. ISSN   1526-3819. S2CID   57563587.
  8. ↑ Buchloh, Benjamin H. D. (1982). "Documenta 7: A Dictionary of Received Ideas". October. 22: 105–126. doi:10.2307/778366. ISSN   0162-2870. JSTOR   778366.
  9. ↑ Perret, Mai-Thu (May 2002). "Maria Eichhorn: Kunsthalle Bern". Frieze. 92.
  10. ↑ "Maria Eichhorn". Chisenhale Gallery.
  11. ↑ "Maria Eichhorn". www.artforum.com. 14 April 2016. Retrieved 27 August 2019.
  12. ↑ "Maria Eichhorn". Chisenhale Gallery. Retrieved 27 August 2019.
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