There are only very few artists like Maria Eichhorn, whose work possesses such an extremely rigorous conceptual charisma but which also occasionally engages in a subtle humor. By means of visually minimal gestures, interventions, and large-scale works, Maria Eichhorn analyzes behaviors that have been socially shaped as well as political and economic interrelationships, frequently focusing her attention on the art system in particular. A vivid example of this approach was her contribution to Documenta11 in Kassel (2002), when she founded a corporation, the peculiar status of which prescribes that its capital may not increase.
Eichhorn’s work Curtain from 1989 likewise spans a long period of time.
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