Isa Genzken: Likeness

“I like to work alone, because it irritates me if people say something stupid — I just can’t stand it… I have a Polish guy who comes in and cleans the studio, but pretty much no one else. [talking over a cappuccino, at the Museum of Modern Art New York, during her show there in 2013]”

Isa Genzken

after 2010, No, It Isn't Supposed to Be Easy' (2013)

People , Stupidity , Art , Guy

“The show is called 'Wind'. I tried here to make work which looks like wind, and it is the most difficult thing to do; I was thinking of Leonardo da Vinci – as he was, for instance, always wanting to fly. And then, this hand of Michael Jackson is like 'ffffffff', 'I'm leaving' (makes gesture with her hand and mouth in the mirror in the hallway of the gallery, mimicking the action that Jackson is depicted making on the invitation card of her show - Simon Denny). Not in a sad way, but…. in a way a little bit sad too. And then I said 'Isa Genzken', because I always liked him so much. For instance, I would always have jackets like this one. This is my favourite kind of style, and so I said 'ffff' [blowing gesture] 'Now I'm coming'… It's like 'don't be afraid, don't be sad, you know… I'm here.”

Isa Genzken

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

Sadness , Way , Thinking , Flying

“I was twenty-one when I first went to New York, and I was so fascinated by the architecture and glad that something like that existed and that I was able to have this visual experience that I thought to myself, this is where I want to live. To me, New York had a direct link with sculpture – that must have been it. Although at twenty-one I wasn't a sculptress yet, I was just starting my studies and I didn't even know what I wanted to do... New York is a city of incredible stability and solidity. And then the height of the buildings – that impressed me, like the people who always seemed a bit happier than the Germans in the street. When I came back to Germany it seemed to me that it wasn't particularly nice, my visual surroundings – it was all so dreary. And modernism hardly features at all in Germany. Okay, there was Bauhaus and there was this and that, but modernism is practically non-existent in architecture.”

Isa Genzken

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

People , Study

“There was a lot of revision that went into [making] the [Wind] sculptures, [c. 2009 - meant as her response to the death of Michael Jackson which she admired]. It might look like I just went in the gallery and they just went up – just like that – but it was not like that. It was really a long process to get the things to look the way they do, to have that balance especially in relation to what I already said about minimalism, and to also have this light touch to them.”

Isa Genzken

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

Death , Way , Light

“Well, and the 'X-rays' [X-Ray, 1991, black and white photograph]... I was just interested in seeing what it looks like inside my head – and the idea that they could just examine the inside of my head like a globe. And then I photographed the facades in New York. [at the end of the 19-nineties]... I did the books at the end of the nineties, and I did the facades shortly after that.”

Isa Genzken

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

Books , Idea

“.. you see they hung my painting here [on her show 'Wind', 2009] I did that in the early 1990s. People never really liked them so much back then, they thought they looked more like photographs. Actually, I was doing them when I was still married to Gerhard Richter [till 1993], and it was somehow in relation to what he was doing, you know, these kind of side-to-side gestural abstracts – done like this [gestures as if pulling a squeegee over a surface from one side to the other] like paintings of the 1950s. Mine were called 'Basic Research', they were rubbings of oil paint on canvas – frottages of the floor of my studio. I did quite a few of these. [Gerhard] Richter put one up in his studio for some time... But he found it too hard and then took it out after a while.”

Isa Genzken

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

People , Time , Painting

“Each one of those ['Ellipsoids'] took at least three months [each]. I was starting those, when I was still at the Düsseldorf Academy. There was a very nice man in the workshop there who was very helpful in the process of making them. And they were extremely complicated – to get the shape right and everything. I mean one could get them sent to a factory, and have them produced according to these computer drawings, but somehow I didn’t really want to do this at the time – and also I did not have the money to do that anyway. Once I tried to have one fabricated in this way, but when it came back there was nothing there somehow. It was not like the ones that were made in the workshop”

Isa Genzken

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

Money , Way , Time , Help

“I had just had an operation, I was totally bored and so I just took my camera and took some pictures of myself. Out of boredom. I only realised afterwards that this work was something special. Taking photos in the clinic and publishing them in a catalogue.... it suddenly took on a kind of seriousness. Everyone's scared of clinics, and no-one wants to see what a clinic looks like from the inside. Well not really. And everyone's a bit scared of having to go there themselves. And there I was in there. And I stand by it. And I used the clinic as a studio and started taking photos. And then I felt better. Just because it let me do something.”

Isa Genzken

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

Photo

“they [her two shows in 2009] are so different, and actually it was a lot of work to make those two shows – I have never done that, two shows simultaneously. I worked on them for a whole year. It was very hard, because I was trying to get this balance between minimalism and something else beyond that – in dialogue with Minimalism, but with content. That was always the thing with minimalism, there was no content allowed of course, but only the thing in the space, that was what Sol LeWitt was always about, and Carl Andre – it was all about avoiding content. I was always very interested in this, right from the beginning, especially with my 'Ellipsoids' [she made 1981 - 1983]. They look like minimalism, but in the end there is a lot going on there.”

Isa Genzken

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

“I have always said that, with any sculpture, you have to be able to say, 'although this is not a ready-made, it could be one'. That's what a sculpture has to look like. It must have a certain relation to reality. I mean, not airy-fairy, let alone fabricated, so aloof and polite… And I don't see this aspect in many artists' work. Often, my feeling is that they think something up that is supposed to be art. That's not what I want at all. Rather, a sculpture is really a photo – although it can be shifted, it must still always have an aspect that reality has too.”

Isa Genzken

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

Art , Feeling , Photo , Thinking

“Yes. Basically, I can read your photography [of Wolfgang Tillmans, who is interviewing her] and see what moves you. What really moves you and not just faked emotion. I don't think it's good when it's like that in art – but unfortunately it often is. That's why I like Bruce Nauman, for example, as a sculptor. With his work, sometimes I have really thought to myself, that's simply beautiful... Above all, it is difficult enough to depict something that moves you deep down inside. But that's ultimately what art is all about, and that's also what appeals to people – if an artist can do it.”

Isa Genzken

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

People , Beauty , Art , Thinking