Rosemarie Trockel

Ohne Titel (Silkscarf)

, 1993
  • Material
    Silkscarf, limited, with handrolled seam
  • Production Method
    L A S T C O P I E S
    The edition will be released in small batches.
  • Edition Size
  • Measurement
    ca. 88 x 86 cm
    Edition of 100
    monogrammed (RT) and numbered on label
  • Details about the frame
    Large maple frame - hand customized. Measurements approx 100,8 x 98,8 cm, with 10mm spacers, regular glass and rear suspension, sealed dust-tight.The scarf will be hand-stitched on the mat before getting framed.
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About the edition

Rosemarie Trockel's silk scarf "o.T." combines three early works that were fundamental to her success and later varied again and again: In one of her famous knitted pictures, "Who will be in '99?", she used the black cross in an ironic allusion to the artist rankings that emerged in the 1980s to quote the Suprematist Kazimir Malevich and, with his "Black Cross", a central work of modernism, while in her "Stove Plate" pictures she refers to the abstract painting of Russian Constructivism. Both - the knitting and the hotplate - refer in their materiality and motifs to a domestic and thus feminine sphere. Trockel's works are feminist commentaries on the male-dominated history of art. Her "Schizo Pullover" - also knitted - with two turtleneck openings for two heads, originally in gender-unspecific black, in turn makes clear that there is always more than one personality or role hidden in a person. Thus, as an initially lonely artist among artists, Trockel self-consciously made female attributions her own and reflected them back into the art world, which was only slowly becoming more diverse. At the same time, the format and exact stitches of her works suggest an industrial production by computer-controlled knitting machines. In this, Trockel connects to a practice independent of the artist's craft participation. The reproducibility of her pictures contrasts with the knitting craft.

About the artist

She is one of the most important and versatile German artists of all: Rosemarie Trockel, who first studied anthropology, theology and mathematics in the 1970s before moving to Cologne to study art and design, produces sculptures, drawings, installations and objects that are out of the ordinary - unpredictable, enigmatic and alive.

Her industrially produced "wool pictures" with woven-in logos ranging from the original German wool seal to the Playboy bunny made Rosemarie Trockel famous in the 1980s. Her work "Haus für Schweine und Menschen" ("House for Pigs and People") caused a sensation at documenta X in 1997, in 1999 she was the first artist in the German Pavilion at the Venice Biennale, and internationally she has exhibited at MoMA in New York, Boston, and Chicago, among others. Ambiguous content, full of cunning provocations and often hidden abysses - Rosemarie Trockel never makes it easy for her audience, and at the same time her art is far too exciting and emotional for anyone not to want to engage with it.

Latest Exhibitions (Selection)

2020, "A Gift of My Parents," Nick und Vera Munro Stiftung, Hamburg
2017, “Plus Quam Perfekt,” Gladstone Gallery, New York
2017, "And I Found Her Bitter. And I Hurt Her." Sprüth Magers, Berlin
2017, "Knitted Works," Skarstedt, London
2015, Märzôschnee ûnd Wiebôrweh sand am Môargô niana më, Kunsthaus Bregenz
2014, Rosemarie Trockel, Aspen Art Museum
2013, A Cosmos, Serpentine Gallery London
2012, Tea Party Pavillon, Documenta 13 Kassel
2010, Verflüssigung der Mutter, Kunsthalle Zürich
2008, Favourite Things, Donald Young Gallery Chicago
2005, Post-Menopause, Museum Ludwig Köln
2000, Drawings, Centre Pompidou Paris
1998, Werkgruppen: 1986 – 1998, Kunsthalle Hamburg

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