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>> DB sponsors the German Biennial Pavillon/Installations at the Deutsche Bank Atrium in NY
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Deutsche Bank is the Main Sponsor of the 2007 German Pavilion at the 52nd Venice Biennial


The international exhibition La Biennale di Venezia , which takes place every two years, is the most important forum for contemporary art worldwide. That’s why it’s a particular pleasure for Deutsche Bank to be the main sponsor of the German Pavilion at the 52nd Venice Biennial in 2007, where the Federal Republic is traditionally represented by an national artist – this year by Berlin-based artist Isa Genzken, and curated by Nicolaus Schafhausen, director of Witte de With, center for contemporary art in Rotterdam.


Isa Genzken,
Photo: Wolfgang Tillmans


"I’ve often thought about what it would be like to make a work for the German Pavilion. But now is probably the right time to really do it. And I’m very happy about the chance to work together with Nicolaus Schafhausen." For Genzken, the invitation to create the German contribution to the coming Venice Biennial fulfills a long-held wish.

Isa Genzken, Untitled, 2002
Deutsche Bank Collection, ©Courtesy Neugerriemschneider, Berlin


Isa Genzken’s first paper works and photo series already became part of the Deutsche Bank Collection in the early nineties; this was later augmented with present-day works. Since that time, the artist has been involved in a number of common art projects with the bank, such as the project proposal World Receiver, which the artist conceived for Moment, Deutsche Bank Art’s series of temporary works of art in the public arena. Starting on September 1, 2006, works by Isa Genzken can be seen in the anniversary exhibition All the Best at the Singapore Art Museum – the final climax of an exhibition series celebrating the Deutsche Bank Collection’s 25th anniversary.

Isa Genzken, Untitled, 2002
Deutsche Bank Collection, ©Courtesy Neugerriemschneider, Berlin


Nicolaus Schafhausen, who follows Julian Heynen as commissioner of the German Pavilion, in explanation of his decision said he wanted someone "maladjusted," someone for whom "content is important." "I can think of only a few, who comment our time and reality as subtle and critical as this artist." The fact that he didn’t choose an artist of the younger generation, but the 1948-born sculptor, whose work was shown in 1992 and in 2002 at the documenta as well as several times at the Venice Biennial, is meant as a sign.



Isa Genzken, Untitled, n. d.
Deutsche Bank Collection, © Galerie Daniel Buchholz, Köln

Ever since Genzken created her first abstract sculptures in the seventies as a continuation of Minimal Art, her cool and often austere oeuvre, which spans video, photography, film, drawing, collage and collaged books, has defied classification. Genzken’s work investigates the traditional themes of sculpture – the ordering of mass and volume; the relationship between object, space, and viewer.


Isa Genzken, Untitled, 1987, Deutsche Bank Collection, © Galerie Fred Jahn, München

In the process, it aims at the tense relationship between architecture, advertising, design, and media and examines how our perception of public space influences and conditions our consciousness. Along with “classical” building materials, the artist also uses everyday things such as mirror elements, plastic foil, or found objects in her sculptural work, loading her installations with personal, social, architectural, and institutional references.


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