MERET OPPENHEIM
POESIE
November 7 - January 16, 2021
Installation view Meret Oppenheim POESIE
Installation view Meret Oppenheim POESIE
Installation view Meret Oppenheim POESIE
Installation view Meret Oppenheim POESIE
Installation view Meret Oppenheim POESIE
Buchumschlag, 1933
Aquarell auf Papier (23,5 x 29 cm), beidseitige Zeichnungen in Glas gefasst auf einem Holzständer/ watercolor (9.3 x 11.4 in) on paper, drawings on both sides set in on a wooden stand
33 x 38 x 6 cm/ 13 x 15 x 2.4 in.
Meret Oppenheim‘s work Buchumschlag (Book Cover), a double-sided watercolor on a wooden pedestal, illustrates the circle, flow and connectedness of life on the front side as opposed to the feeling of oppression – being a target of social expectations – on the back side. The search for freedom and resistance to every stylistic, academic and social norm permeated Oppenheim‘s entire thinking and production. For the artist the image of the snake was a symbol of creative power and the spiral an attribute of the human unconsciousness capturing the different life forces and personality traits.
Aquarell auf Papier (23,5 x 29 cm), beidseitige Zeichnungen in Glas gefasst auf einem Holzständer/ watercolor (9.3 x 11.4 in) on paper, drawings on both sides set in on a wooden stand
33 x 38 x 6 cm/ 13 x 15 x 2.4 in.
Meret Oppenheim‘s work Buchumschlag (Book Cover), a double-sided watercolor on a wooden pedestal, illustrates the circle, flow and connectedness of life on the front side as opposed to the feeling of oppression – being a target of social expectations – on the back side. The search for freedom and resistance to every stylistic, academic and social norm permeated Oppenheim‘s entire thinking and production. For the artist the image of the snake was a symbol of creative power and the spiral an attribute of the human unconsciousness capturing the different life forces and personality traits.
Handschuhpaar, 1985
Ziegenleder mit Siebdruck, handgenäht/ goat suede with silk-screen, handstitched (included in Parkett issue 4)
21,3 x 9,3 cm/ 8.4 x 3.7 in.
Ed.: 34/150
Signiert und nummeriert/ signed and numbered
Ziegenleder mit Siebdruck, handgenäht/ goat suede with silk-screen, handstitched (included in Parkett issue 4)
21,3 x 9,3 cm/ 8.4 x 3.7 in.
Ed.: 34/150
Signiert und nummeriert/ signed and numbered
Journal dans la foret, 1973
Collage mit aufgeklebter grüner Wolle auf Radierung/Collage with green wool glued on etching
42 x 31 cm/ 16.5 x 12.2 in.
Ed.: 50/110
Collage mit aufgeklebter grüner Wolle auf Radierung/Collage with green wool glued on etching
42 x 31 cm/ 16.5 x 12.2 in.
Ed.: 50/110
Grüner Spiegel vor Wüste, 1978
Ölkreide/ oil pastel
48 x 63 cm/ 18.9 x 24.9 in.
"In August of 1971, Anna Boetti and Roberto Lupo, both from Turin, and myself played the old drawing game: each player has a sheet of paper in front of them and draws a head (or something representing the upper part of a figure), then folds the sheet backwards so that only two lines representing the base of the throat are visible and then hands it over to his neighbour. Now each player draws a body, folds the drawing and passes it on. Each player now draws the feet or the base. The sheets of paper are then unfolded, with the blank side facing upward. The drawing may not be looked at yet. In order to find the title, each player first writes a noun or a name, folds it, writes a verb on the next sheet and an adjective on the last. These words are then used to form a title. The titles are now read out loud and the drawings shown. The Paris Surrealists named this game after a title received from a round of it: Le cadavre exquis (Le cadavre exquis boira le vin nouveau – The exquisite cadaver shall drink the new wine). We played the game on two or three evenings and used small sheets (22 x 17.5 cm). There were some very interesting results.” Meret Oppenheim
Ölkreide/ oil pastel
48 x 63 cm/ 18.9 x 24.9 in.
"In August of 1971, Anna Boetti and Roberto Lupo, both from Turin, and myself played the old drawing game: each player has a sheet of paper in front of them and draws a head (or something representing the upper part of a figure), then folds the sheet backwards so that only two lines representing the base of the throat are visible and then hands it over to his neighbour. Now each player draws a body, folds the drawing and passes it on. Each player now draws the feet or the base. The sheets of paper are then unfolded, with the blank side facing upward. The drawing may not be looked at yet. In order to find the title, each player first writes a noun or a name, folds it, writes a verb on the next sheet and an adjective on the last. These words are then used to form a title. The titles are now read out loud and the drawings shown. The Paris Surrealists named this game after a title received from a round of it: Le cadavre exquis (Le cadavre exquis boira le vin nouveau – The exquisite cadaver shall drink the new wine). We played the game on two or three evenings and used small sheets (22 x 17.5 cm). There were some very interesting results.” Meret Oppenheim
Annamaria Boetti/ Meret Oppenheim/ Roberto Lupo
Cadavre exquis: Der Permanente Hagedorn, 1971
Buntstift auf Papier/ colored pencil on paper
22 x 17,5 cm/ 8.7 x 6.9 in.
Cadavre exquis: Der Permanente Hagedorn, 1971
Buntstift auf Papier/ colored pencil on paper
22 x 17,5 cm/ 8.7 x 6.9 in.
Annamaria Boetti/ Meret Oppenheim/ Roberto Lupo
Cadavre exquis: Le Phare parfumé, 1971
Buntstift auf Papier/ colored pencil on paper
22 x 17,5 cm/ 8.7 x 6.9 in.
Cadavre exquis: Le Phare parfumé, 1971
Buntstift auf Papier/ colored pencil on paper
22 x 17,5 cm/ 8.7 x 6.9 in.
Photos: Johannes Bendzulla