Reinhard Mucha’s “Der Mucha—An Initial Suspicion”
              Kirsty Bell
              For the last four decades, Reinhard Mucha has been making sculptures and installations that speak in the tongue of bureaucratic systems and engage a distinct object vocabulary. There are standardized furnishings of museum display and archiving (dark wood frames, felt linings, plate glass) but also behind-the-scenes elements of technical installation and found materials from the past. Elaborate wall-based sculptures are part display-case, part carefully crafted autonomous structure, revealing their workmanship with cross-section views. Rooms built within rooms provide extra spatial frames. There is something fetishistic in Mucha’s reverence for these textures and his compulsive collecting and archiving of materials and documents, but his works pointedly question whether what to show is equal to how. These tendencies unfold to the full in this two-venue retrospective—the 72-year-old artist’s first—in his hometown of Düsseldorf. A single large hall on the ground floor of K20 brings together several significant installations, the centerpiece of which is Das Figur-Grund Problem in der Architektur des Barock (für dich allein bleibt nur das Grab) [The Figure-Ground Problem in Baroque Architecture (for you alone is only the grave)] (1985/2022). This virtuosic construction conjures a Ferris wheel and “wall of death” from shiny aluminum ladders, office chairs and tables, trussed …
              “A Fire in My Belly”
              Alan Murrin
              This show of 47 works by 36 artists—41 drawn from Julia Stoschek’s collection, augmented by six loans—explores the effects of violence, physical and psychological, on the body and the body politic. The earliest work on display is Karl Wilhelm Diefenbach’s Capri (1911), an oil painting showing a sunset burning out over a darkening coastline; the most recent is Anne Imhof’s Untitled (Wave) (2021), a thirty-minute video wherein a lone figure stands on a shoreline, beating back the oncoming tide with a whip. The show is filled with careful pairings, its emotional register ranging from despair to hope, from the abject to the sublime. It takes its title from David Wojnarowicz’s 1986–87 montage of spinning eyeballs and sewn flesh, mummified corpses and ants crawling over a figurine of the crucified Jesus; on the opposite wall hangs Zoe Leonard’s Untitled Aerial (1998/2008), a photograph of a vast landscape with a river wending through it like a strip of silver ribbon. The two sit in silent communion, the naked landscape a counterbalance to the corporeal concerns of Wojnarowicz’s work. As is so often the case with this show, the wound inflicted by one piece is salved by the next. On entering the space, …

              e-flux announcements are emailed press releases for art exhibitions from all over the world.

              Agenda delivers news from galleries, art spaces, and publications, while Criticism publishes reviews of exhibitions and books.

              Architecture announcements cover current architecture and design projects, symposia, exhibitions, and publications from all over the world.

              Film announcements are newsletters about screenings, film festivals, and exhibitions of moving image.

              Education announces academic employment opportunities, calls for applications, symposia, publications, exhibitions, and educational programs.

              Sign up to receive information about events organized by e-flux at e-flux Screening Room, Bar Laika, or elsewhere.

              I have read e-flux’s privacy policy and agree that e-flux may send me announcements to the email address entered above and that my data will be processed for this purpose in accordance with e-flux’s privacy policy*

              Thank you for your interest in e-flux. Check your inbox to confirm your subscription.