Rita McBride
Tokyu Hands Japanese Curve #14–316
In den historischen Landschaftsgärten stand die Skulptur in einem ausgeklügelten
Bezugsnetz von Plätzen und Achsen, von Wiesen und Wegen. Eingerahmt von
den umliegenden Baum- und Buschgruppen markierte sie Schnittpunkte und
Ziele, bot überraschende Unterbrechungsmomente und
optische Reize für den Lustwandelnden.
An einem Weg steht man plötzlich vor einem Baum, was im Park eigentlich
nicht ungewöhnlich ist. Dieser Baum interessiert uns jedoch besonders,
weil etwas vor ihm steht.
Mit abstrakten Formen, die die Grenze zwischen der or-ganischen Welt der
Natur und der industriell-architektonischen Gestaltung der Moderne überbrücken,
lehnt sich RitaMcBrides überlebensgroße Skulptur in zweifacher
Hinsicht an den Baum an. Einmal physisch, aber auch in
der Konfrontation von verwandten und gegensätzlichen Formen.
Mit der Kanalisierung unserer Blicke bietet das durchbrochene Kurvenlineal
einen verführerischen Akt des Hin(durch)sehens. Die Arbeit definiert und
bestimmt den objektiven Wirklichkeitsraum, aktiviert aber gleichzeitig
den subjektiven Umraum zwischen Baum und Besucher.
Stahl
2006
Vita
* 1960 in Des Moines, IA,
lebt und arbeitet in New York und Köln
1982 BA, Bard College, Annandale-on Hudson, NY
1987 MFA, California Institute of the Arts, Valencia
Preise und Stipendien (Auswahl):
2002 World Trade Center Competition, Skidmore, Owings & Merrill
team Guggenheim Memorial Foundation Fellowship Cultural Board of the City
of Hamburg Residency
1999 DAAD Residency, Berlin
1995 Artist in Residence, Fundacio Pilar i Joan a Mallorca,
Palma
1991–92 American Academy in Rome, Rome Prize Fellowship
in Visual Arts, Rome
1989 Artist in Residence, Carson City, NV
Projekte, Ausstellungen (Auswahl): Einzelausstellungen
2004 „Rita McBride: Exhibition”, The Sculpture Center,
Long Island City, NY, „Middle Managers/Self-Storage”, Frehrking Wiesehöfer,
Cologne, „Mae West and the Middle Managers”, Mai 36 Galerie, Zürich, „CH-8873
Amden, one day performance at CH-8873”, Amden, Switzerland, „No Fixed Address”,
Artspeak, Vancouver,
2003 „Vehicles and Vessels”, Alexander and Bonin, New York,
2002 „Servants and Slaves”, Annemarie Verna Galerie, Zürich,
General Growth, Institut d'art contemporain, Villeurbanne, „Naked Came the
Stranger”, Kunstmuseum Liechtenstein, Vaduz, 2001 „472 New Positions”, De
Pont Foundation for Contemporary Art, Tilburg, The Netherlands, „White Elephant
and Albatrosses”, Alexander and Bonin, New York, Machines, Mai 36 Galerie,
Zürich,
2000 „Secession Tower”, Wiener Secession, Vienna, „Werkshow”,
Staatliche Kunsthalle Baden-Baden; Neuer Aachener Kunstverein, Aachen, „Her
House with the Upstairs in it”, DAAD Galerie, Berlin,
1999 „National Chain”, galerie deux, Tokyo, Aloof and Incidental,
Annemarie Verna Galerie and Mai 36 Galerie, Zürich, „Rita McBride &
To Be Announced”, Kunstverein München, Munich (presented as part of the
ongoing Damenwahl exhibition series, Siemens Kulturprogramm),
1997 „Arena & National Chain”, Witte de With, Rotterdam,
„Rita McBride”, Alexander and Bonin, New York, „Hyperinclusion, OSMOS”,
Berlin, „The Donkey’s Way and Piggybackback” (in collaboration with Catherine
Opie and Lawrence Weiner) Galeria Pedro Oliveira, Porto, Portugal
1995 Gilded Carriages and The Donkey’s Way and La Concierge
(in collaboration with Hsin-Ming Fung), Margo Leavin Gallery, Los Angeles,
1994 „Backsliding, sideslipping, one Great Leap and the
“forbidden”, Michael Klein Gallery, New York
Projekte, Ausstellungen (Auswahl):
Ausstellungsbeteiligungen Alexander and
Bonin, New York, „Próximas exposições”, Galeria Graça Brandão, Porto 2005,
2005 Farsites/Sitios Distantes, San Diego Museum of Art,
Centro Cultural Tijuana, CECUT
2004–05 „raumfürraum”, Kunsthalle Düsseldorf,
2003 „Micro-Utopias”, Bienal de Valencia, Spain „Living
Inside the Grid”, New Museum of Contemporary Art, New York,
2002 „Think Big/Voir grand”, Liane and Danny Taran Gallery,
Saidye Bronfman Centre for the Arts, Montreal 2002 „Taipei Biennial”, Taipei
Fine Arts Museum, Taiwan, „Building Structures”, P.S.1 Contemporary Art
Center, Long Island City, NY, „Artists Imagine Architecture”, Institute
of Contemporary Art, Boston, „Through a Sequence of Space”, Galerie Nordenhake,
Berlin,
2001 „Archisculptures”, Kunstverein Hannover, „Crossing
the Line, Queens Museum of Art, New York,
2000 „Rita McBride, Julius Schulman, Adamski Frehrking
Wiesehöfer, Cologne, „HausSchau – das Haus in der Kunst”, Deichtorhallen,
Hamburg, „What if – Art on the Verge of Architecture and Design”, Moderna
Museet, Stockholm „Please Let my Affections Lead me into Danger”, Galerie
Bernd Klüser, Munich, „Over The Edges-The Corners of Ghent”, Stedelijk Museum
Actuele Kunst, Ghent,
1999 „Urban Visions: Rita McBride, Marjetica Potrc, Sophie
Tottie”, The Worcester Art Museum, MA,
1998 „Architecture! Architecture! Architecture!”, Hunter
College/ Times Square Gallery, Hunter College of the City University of
New York, „Where: Allegories of Site in Contemporary Art”, The Whitney Museum
of American Art at Champion, Stamford, CT, Travel and Leisure, Paula Cooper,
New York „Architecture & Inside”, Paul Morris Gallery, New York „Corpos
em Trânsito”, Galeria Pedro Oliveira, Porto, Portugal
1997 „Structures: Buildings in American Art1900–1997”,
JohnBerggruen Gallery, San Francisco,
1996 „The Bare Wall”, Michael Klein Gallery, New York,
Büro Orange, Siemens Kultur Program, Munich,
1995 „Literally Abstract”, Center for Research in Contemporary
Art, University of Texas, Arlington, TX, „25 Years”, Margo Leavin Gallery,
Los Angeles, „Woodworks”, Michael Klein Gallery, New York, “tu parles-j’coute,
Galerie Anne de Villepoix, and Societe Jet LagK., Paris, „Critical Distance:
Between Art and Architecture”, Neuberger Museum, SUNY, Purchase, NY, „Call
it Sleep”, Witte de With, Rotterdam
Tokyu Hands Japanese Curve #14–316
In historic landscape gardens, sculptures stood amidst a cleverly thought-out
system of space and axis, of lawns, and paths. Surrounded by groups of
trees and bushes, they mark crossing points and destinations, offer surprising
moments of rest as well as visual stimulation for promenaders.
On a path in the Lower Manor, one suddenly stands in front of a tree,
which is not very unusual in a park. This one, however, interests us a
great deal, because something seems to be placed in front of it.
With abstract forms that bridge the gap between the organic world of nature
and the industrial architectural designs of modernism, Rita McBride’s
monumental sculpture leans on the tree in more than one way. Physically,
on the one hand but also in its confrontation of related and unrelated
forms.
By channeling our sight, the openwork curve template provides for the
seductive act of looking (through). The piece defines and categorizes
the objective real space and simultaneously activates the subjective situation
comprising
tree and viewer.