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Venue: KW Institute for Contemporary Art
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, Fidschi im Transit (O.P.) [Fiji in Transit (O.P.)], 1984, chalk, tempera on nettle, 125 × 100 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, …und predigt den Husky’s die Liebe (o.T.)! [… and preach love to the huskies (untitled)!], 1981–87, Acrylic, chalk, tempera on nettle, 125 × 100 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, noch ein MischiNessi [Another MischiNessi], 1987, emulsion, chalk, tempera on nettle, 135 × 115 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, Untitled, 1989, emulsion, chalk on nettle, 150 × 180 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Born 1944 in Heusweiler, DE – lives and works in Berlin, DE
Establishing herself amidst the tumultuous, hedonistic spirit of the West Berlin art scene in the late 1970s and early 1980s, Galli, like many of her contemporaries, rejected the austere visual language of conceptual art and embraced narrative forms and subjective experience. Fragmented objects, human limbs, and amorphous blobs are playfully melded together in her drawings and paintings.
As Thomas Deecke writes, “Her protagonists are figures of her overflowing imagination… they appear to be marked by the circumstances of life and their fates; they show themselves exposed to the injustices of life in often bold gestures and anatomically highly questionable contortions.” Galli’s recalcitrant figures—in the form of severed arms or legs—reveal a semiotic approach to everyday individual experiences, which oscillate between the poles of cheerfulness and horror, struggle and lust, and sexuality/desire and brutality.
Similar stories can also be found in her artist books—art catalogues that she cuts up and paints over, transforming them into unique objects. Galli determinedly blazed her own path within a generation dominated by the (male) painters of the New Fauves. Fundamental to her work are the physical and psychological torment of her figures and her agile intellectual play with literature and language.
In Turbasky (1987) the artist’s own handprints, smeared in red paint, add a macabre dimension to two bodies entwined in what looks like an embrace. The thrashing about of hands and feet in their untitled work from 1989 suggests a scene that could be sexual or violent—or both. The selection of works on display pays homage to an artist, activist, and beloved art professor whose pioneering work and life has not been duly acknowledged within conventional art historical narratives.
Michèle Faguet
A Moment of True Decolonization / Episode #6: Sinthujan Varatharajah. Constructing the Tamil Eelam State
The Funambulist / Sinthujan Varatharajah
Podcast
Umbilical Cord Amulet
McCord Museum
Object
Weaving Solidarity
Renata Cervetto and Duygu Örs
Q&A
Teatro da Vertigem
Monograph
Being in Crisis together – Einander in Krisen begegnen
Feminist Health Care Research Group (Inga Zimprich/Julia Bonn)
Online workshop
II: La Solidaridad va Más Allá de un Concepto. Entre las Curadoras de la XI Berlin Biennale
Lisette Lagnado, Agustín Pérez Rubio
Conversation
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, Fidschi im Transit (O.P.) [Fiji in Transit (O.P.)], 1984, chalk, tempera on nettle, 125 × 100 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, …und predigt den Husky’s die Liebe (o.T.)! [… and preach love to the huskies (untitled)!], 1981–87, Acrylic, chalk, tempera on nettle, 125 × 100 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, noch ein MischiNessi [Another MischiNessi], 1987, emulsion, chalk, tempera on nettle, 135 × 115 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, Untitled, 1989, emulsion, chalk on nettle, 150 × 180 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Born 1944 in Heusweiler, DE – lives and works in Berlin, DE
Establishing herself amidst the tumultuous, hedonistic spirit of the West Berlin art scene in the late 1970s and early 1980s, Galli, like many of her contemporaries, rejected the austere visual language of conceptual art and embraced narrative forms and subjective experience. Fragmented objects, human limbs, and amorphous blobs are playfully melded together in her drawings and paintings.
As Thomas Deecke writes, “Her protagonists are figures of her overflowing imagination… they appear to be marked by the circumstances of life and their fates; they show themselves exposed to the injustices of life in often bold gestures and anatomically highly questionable contortions.” Galli’s recalcitrant figures—in the form of severed arms or legs—reveal a semiotic approach to everyday individual experiences, which oscillate between the poles of cheerfulness and horror, struggle and lust, and sexuality/desire and brutality.
Similar stories can also be found in her artist books—art catalogues that she cuts up and paints over, transforming them into unique objects. Galli determinedly blazed her own path within a generation dominated by the (male) painters of the New Fauves. Fundamental to her work are the physical and psychological torment of her figures and her agile intellectual play with literature and language.
In Turbasky (1987) the artist’s own handprints, smeared in red paint, add a macabre dimension to two bodies entwined in what looks like an embrace. The thrashing about of hands and feet in their untitled work from 1989 suggests a scene that could be sexual or violent—or both. The selection of works on display pays homage to an artist, activist, and beloved art professor whose pioneering work and life has not been duly acknowledged within conventional art historical narratives.
Michèle Faguet
#fight4rojava
Graffiti
Undocumented Rumours and Disappearing Acts from Chile
María Berríos
Essay
St Sara Kali George
Delaine Le Bas
Soundscape
Queer Ancient Ways: A Decolonial Exploration
Zairong Xiang
Monograph
III: La familia son quiénes se alegran con nuestros actos diarios. Detrás de las curadoras de la XI
María Berríos, Agustín Pérez Rubio
Conversation
Expresiones de la locura: el arte de los enfermos mentales
Hans Prinzhorn
Monograph
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, Fidschi im Transit (O.P.) [Fiji in Transit (O.P.)], 1984, chalk, tempera on nettle, 125 × 100 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, …und predigt den Husky’s die Liebe (o.T.)! [… and preach love to the huskies (untitled)!], 1981–87, Acrylic, chalk, tempera on nettle, 125 × 100 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, noch ein MischiNessi [Another MischiNessi], 1987, emulsion, chalk, tempera on nettle, 135 × 115 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, Untitled, 1989, emulsion, chalk on nettle, 150 × 180 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Born 1944 in Heusweiler, DE – lives and works in Berlin, DE
Establishing herself amidst the tumultuous, hedonistic spirit of the West Berlin art scene in the late 1970s and early 1980s, Galli, like many of her contemporaries, rejected the austere visual language of conceptual art and embraced narrative forms and subjective experience. Fragmented objects, human limbs, and amorphous blobs are playfully melded together in her drawings and paintings.
As Thomas Deecke writes, “Her protagonists are figures of her overflowing imagination… they appear to be marked by the circumstances of life and their fates; they show themselves exposed to the injustices of life in often bold gestures and anatomically highly questionable contortions.” Galli’s recalcitrant figures—in the form of severed arms or legs—reveal a semiotic approach to everyday individual experiences, which oscillate between the poles of cheerfulness and horror, struggle and lust, and sexuality/desire and brutality.
Similar stories can also be found in her artist books—art catalogues that she cuts up and paints over, transforming them into unique objects. Galli determinedly blazed her own path within a generation dominated by the (male) painters of the New Fauves. Fundamental to her work are the physical and psychological torment of her figures and her agile intellectual play with literature and language.
In Turbasky (1987) the artist’s own handprints, smeared in red paint, add a macabre dimension to two bodies entwined in what looks like an embrace. The thrashing about of hands and feet in their untitled work from 1989 suggests a scene that could be sexual or violent—or both. The selection of works on display pays homage to an artist, activist, and beloved art professor whose pioneering work and life has not been duly acknowledged within conventional art historical narratives.
Michèle Faguet
Solidarity and Storytelling. Rumors against Enclosure
María Berríos
Essay
Maternidades subversivas
María Llopis
Monograph
Struggle as Culture: The Museum of Solidarity, 1971–73
María Berríos
Essay
Feminist Health Care Research Group
Web archive
II: La Solidaridad va Más Allá de un Concepto. Entre las Curadoras de la XI Berlin Biennale
Lisette Lagnado, Agustín Pérez Rubio
Conversation
A World Without Bones
Agustín Pérez Rubio
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, Fidschi im Transit (O.P.) [Fiji in Transit (O.P.)], 1984, chalk, tempera on nettle, 125 × 100 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, …und predigt den Husky’s die Liebe (o.T.)! [… and preach love to the huskies (untitled)!], 1981–87, Acrylic, chalk, tempera on nettle, 125 × 100 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, noch ein MischiNessi [Another MischiNessi], 1987, emulsion, chalk, tempera on nettle, 135 × 115 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, Untitled, 1989, emulsion, chalk on nettle, 150 × 180 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Galli, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Silke Briel
Born 1944 in Heusweiler, DE – lives and works in Berlin, DE
Establishing herself amidst the tumultuous, hedonistic spirit of the West Berlin art scene in the late 1970s and early 1980s, Galli, like many of her contemporaries, rejected the austere visual language of conceptual art and embraced narrative forms and subjective experience. Fragmented objects, human limbs, and amorphous blobs are playfully melded together in her drawings and paintings.
As Thomas Deecke writes, “Her protagonists are figures of her overflowing imagination… they appear to be marked by the circumstances of life and their fates; they show themselves exposed to the injustices of life in often bold gestures and anatomically highly questionable contortions.” Galli’s recalcitrant figures—in the form of severed arms or legs—reveal a semiotic approach to everyday individual experiences, which oscillate between the poles of cheerfulness and horror, struggle and lust, and sexuality/desire and brutality.
Similar stories can also be found in her artist books—art catalogues that she cuts up and paints over, transforming them into unique objects. Galli determinedly blazed her own path within a generation dominated by the (male) painters of the New Fauves. Fundamental to her work are the physical and psychological torment of her figures and her agile intellectual play with literature and language.
In Turbasky (1987) the artist’s own handprints, smeared in red paint, add a macabre dimension to two bodies entwined in what looks like an embrace. The thrashing about of hands and feet in their untitled work from 1989 suggests a scene that could be sexual or violent—or both. The selection of works on display pays homage to an artist, activist, and beloved art professor whose pioneering work and life has not been duly acknowledged within conventional art historical narratives.
Michèle Faguet
Fragments of the Artist’s Diary, Berlin 11.2019–1.2020
Virginia de Medeiros
Diary
A World Without Bones
Agustín Pérez Rubio
Glossary of Common Knowledge
L’Internationale Online
Glossary
Touching Feeling. Affect, Pedagogy, Performativity
Eve Kosofsky Sedgwick
Monograph
Maternidades subversivas
María Llopis
Monograph
COVID-19 VIDEOS
Carlos Motta
Video
By using this website you agree to the use of cookies in accordance with our data privacy policy.
By using this website you agree to the use of cookies in accordance with our data privacy policy.