January 18, 2020

Katrina Daschner, Untitled (Vienna – México), 1999

Artists have long used bathrooms as backdrops for their work, though none quite like this: subjects accessorized with a panty-liner and what appears to be a hot pink, knitted elephant’s trunk. Shot in 1999 as part of the three-year-long series Zuhälter, it feels like it could have been made yesterday. The image is currently on show at Muzeum Susch in Zernez, Switzerland, as part of Up to and Including Limits: After Carolee Schneemann—the first institutional exhibition about the legacy of the titular artist since her death in March last year. Alongside Schneemann’s own work, pieces by artists including Matthew Barney, Chicks on Speed, Ragnar Kjartansson, Sarah Lucas and Pipilotti Rist are on show, with pieces selected to demonstrate the breadth of her legacy. In Daschner’s case, her collages of knitted accoutrements applied to bodies are shown in order to juxtapose them with Schneemann’s 1995 piece Vulva’s Morphia, a wall installation formed of photographs and texts that look to present an ironic take on what an actual vulva might make of things like Marxism, the male art establishment and cultural taboos. Daschner’s stance as a lesbian artist looks to challenge heteronormative ideas; and showcases the influence of such pieces, as well as how the art world today is still looking to break down similar boundaries. The exhibition is running until  28 June 2020.

Photo collage from chromogenic prints, from the series Zuhälter (1999-2002). Courtesy of the artist



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