Balancing Towers

source: maxhetzler
Inge Mahn, 1943 in Teschen (Polen) geboren, lebt und arbeitet in Berlin und Groß Fredenwalde. Mahn studierte in der Meisterklasse von Joseph Beuys an der Kunstakademie Düsseldorf. Mit ihrer Abschlussarbeit Schulklasse, 1970, war sie 1972 auf der documenta V, kuratiert von Harald Szeemann, vertreten. Später lehrte Mahn unter anderem an der Kunsthochschule Berlin-Weissensee. Inge Mahns Werke wurden in zahlreichen Einzel- und Gruppenausstellungen präsentiert, zuletzt im Cahiers d’Art, Paris (2015) und der Akademie-Galerie, Die Neue Sammlung, Düsseldorf (2014). Davor stellte sie unter anderem im MoMA PS1, New York (1981); Städtische Galerie im Lenbachhaus, München (1983); Hamburger Bahnhof, Berlin (1988); Württembergischer Kunstverein Stuttgart (1990); Kunsthalle Helsinki (1996); Kunsthalle Kassel (1999) und dem Schweinfurt Museum (2006) aus. 2012 gründete Inge Mahn den Ausstellungsraum Stallmuseum in Groß Fredenwalde.
.
.
.
.
.
.
.
source: maxhetzler
Inge Mahn was born 1943 in Teschen, Poland. She lives and works in Berlin and Groß Fredenwalde. Mahn studied as a master student in the class of Joseph Beuys at the Kunstakademie Düsseldorf. Her graduation project Schulklasse (1970) led her to representation at documenta V in 1972,one of the most influential exhibitions in history, curated by Harald Szeemann. Later Mahn held several professorships, the last one at the Kunsthochschule Berlin-Weissensee. IngeMahn’s work was presented in several solo and group exhibitions, most recently at Cahiers d’Art, Paris (2015) and Akademie-Galerie,Die Neue Sammlung, Düsseldorf (2014). Earlier presentations include MoMA PS1, New York (1981),Städtische Galerie im Lenbachhaus, Munich (1983),Hamburger Bahnhof, Berlin (1988),Württembergischer Kunstverein Stuttgart (1990), Kunsthalle Helsinki (1996), Kunsthalle Kassel (1999) orSchweinfurt Museum (2006),among others. In 2012 Inge Mahn founded the exhibition space Stallmuseum in Groß Fredenwalde.
.
.
.
.
.
.
.
source: maxhetzler
The body of work by German sculptor Inge Mahn reverses both the ready-made principle and the traditional concept of architectural sculpture. Constructions made of plaster represent most often real objects, departure being an autobiographical but undisclosed context in the artist’s life. The particular mode of construction, at times put in motion, doesn’t however recreate the form of the objects, but rather originates their ‘portrait’, thus questioning the scope of the term itself.
Former student of Joseph Beuys and in 1972 represented at documenta 5, one of the most influential exhibitions in history, Inge Mahn models the sculptural essence of commonplace objects, always taking the role of the observer into account.

“Inge Mahn’s sculptures are not created in isolation, but evolve within their specific spatial and situational contexts. They are autonomous only in part, since they react to preexisting architectonic and social structures, assume a stance that corresponds to them, advance objections, stir up our ideas about objects, spaces and rules. This body of work is an ongoing violation of the rules, it provides the impetus for a process of rethinking, reinterpretation, rebuilding. Outwardly this is manifested in the constant white of the works: here everything is being continually reshaped, remodeled, transformed.”