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<strong>Art</strong><br />
Available: April 2013<br />
ISBN: 9783864420245<br />
Price: £32.50<br />
Format: Paperback<br />
Pages: 216<br />
Illustrations: 130 col & b/w<br />
Size: 245 x 165 mm<br />
Category: <strong>Art</strong><br />
Rights: UK & Eire, Scandinavia,<br />
Italy, Greece, Spain, Portugal<br />
and Eastern Europe only<br />
Available: April 2013<br />
ISBN: 9783864420221<br />
Price: £23.95<br />
Format: Hardback<br />
Pages: 124<br />
Illustrations: 45 col<br />
Size: 180 x 140 mm<br />
Category: <strong>Art</strong><br />
Rights: UK & Eire, Scandinavia,<br />
Italy, Greece, Spain, Portugal<br />
and Eastern Europe only<br />
28 JOHN RULE Spring 2013<br />
snoeck<br />
Kiki Kogelnik: I have seen the future!<br />
Kiki Kogelnik<br />
Rockets, guns, body fragments, collages, stencils, spray paints and<br />
crazy colours are the characteristic elements that populate Kiki<br />
Kogelnik’s multicoloured universe. Born in 1935 in Graz, she left for<br />
the USA in 1961, settling in New York. It is then no accident that the<br />
East-Coast Pop <strong>Art</strong> canon, popularised by her male counterparts at<br />
this time, resonates in her work. But contrary to the material games or<br />
pronounced brand fetishism of her contemporaries, the young Austrian<br />
hoisted the standard of expanding consciousness and, from Pop <strong>Art</strong>’s<br />
very inception, viewed the relationship between the love of technology<br />
and conquest mentality with an extremely critical eye. Utopia is the<br />
magic watchword that sums up Kiki Kogelnik’s formal and thematic<br />
peregrinations; she is interested in transformation, in overcoming the<br />
perplexities of space and time. This catalogue of her retrospective<br />
exhibition at the Kunstverein Hamburg bears eloquent witness to all<br />
these various stages in the oeuvre of an unusual artist. Kiki Kogelnik<br />
died in Vienna in 1997.<br />
snoeck<br />
Nikola Röthemeyer: FrauenZimmer<br />
Maurah Leciejewski & Tilo Schulz<br />
Nikola Röthemeyer’s works negotiate the margins of many different<br />
styles. In the series FrauenZimmer, she initially devotes herself to the<br />
supposed reality of life for women, placing them in relation to their<br />
environment and presenting aspects of their identity. When it comes to<br />
housework, home making or moments of quietude, she chooses scenes<br />
from genre painting. In a second part of her series, Nikola Röthemeyer<br />
expands her thematic palette, leaving the private sphere behind and<br />
moving into a kind magic realism, akin to the world propagated by<br />
the Argentine fabulist, Jorge Luis Borges. But Nikola Röthemeyer’s<br />
work doesn’t charge this realism with a decidedly erotic momentum<br />
à la Balthus and Klossowski, but instead builds using transformative<br />
stylistic features, such as extreme focus, pictorial perspective,<br />
viewer’s perspective and format in the smallest shifts in reality and<br />
defamiliarisation.
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