Deutsche Bank Group  |  Social Responsibility  |  Deutsche Bank Collection  |  Deutsche Guggenheim  |  Deutsch  
Home Feature On View News Press Archive Service
This category contains the following articles
Frieze Art Fair in London
Praemium Imperiale for Zaha Hadid and Hiroshi Sugimoto
Views 2009: Prize for Young Polish Art
Guggenheim Foundation Honors Deutsche Bank
PRIMAVERA 2009 promotes young Australian artists
Deutsche Bank Africa Foundation recognised for Long-Term Development of the Arts
Phoebe Washburn at the Kestnergesellschaft
Miwa Yanagi in the Japanese Pavilion
Deutsche Bank supports Yona Friedman’s Project for the Venice Biennale
Artists Awarded at the Venice Biennale


Send a friend
The New Deal
Phoebe Washburn at the Kestnergesellschaft

In the summer of 2007, the Deutsche Guggenheim showed Regulated Fool's Milk Meadow, Phoebe Washburn's first major museum exhibition and one of the most elaborate installations she's ever made. Now, the 1973-born New Yorker has completed a new project for the Kestnergesellschaft titled compeshitstem - the new deal, her biggest work to date. Two large rooms one above the other are transformed into a kind of factory within the exhibition hall in which works of art are manufactured from second-hand T-shirts. The two rooms are connected by electrical wiring and water pipes that feed the production process while referencing Joseph Beuys' Honigpumpe am Arbeitsplatz (Honey Pump in the Workplace). Presented in 1977 at documenta 6, Beuys' famous installation used a system of hoses to transport honey through the Fridericianum. Like Beuys, Washburn is interested in making processes and energy cycles visible; at the same time, her works explore themes such as sustainability and recycling. Thus, the water used to clean the T-shirts is prepared for reuse by passing through a system of filters. In the final analysis, the gigantic apparatus is itself a recycling product, consisting as it does of discarded wooden boards.

compeshitstem picks up where Washburn's project for the Deutsche Guggenheim left off. For the Berlin exhibition space, she developed a hermetic production facility in which plots of sod were grown in a small greenhouse and transported on a conveyer belt through a wooden construction that filled the exhibition space. In the end, the plots of sod wound up on the roof of the building, where they slowly dried up in an absurd cycle of growth and decay. The work can also be understood as a political commentary on western consumerist society, yet Washburn is chiefly concerned with creating vital conceptual works of art out of everyday materials. "I am not a 'green artist,' I am a greedy artist," she remarked. "And I resolved this problem of greed by collecting materials. I find it satisfying to make do with what I collect. It is more interesting to work this way. And I also like the layers of history that are inherent in the recycled materials."

Phoebe Washburn
compeshitstem - the new deal
August 14 through October 25, 2009
Kestnergesellschaft, Hanover

Stay up-to-date on contemporary art-with ArtMag. Register here for our newsletter.

Alternative content

Get Adobe Flash player

Curator Carmen Giménez on Abstraction and Empathy / Spiritual Intoxication: Sebastian Preuss on Wilhelm Worringer / An Interview with Parastou Forouhar / Comparative Viewing: Olivier Foulon / Markus Amm: You Cant Reinvent Modernism
On View
Abstraction and Empathy at the Deutsche Guggenheim / Joseph Beuys and his Students - Works from the Deutsche Bank Collection at the Sabanci Museum / Back to the Garden at the 60 Wall Gallery / Deutsche Bank Art Space Showing Artistic Perspectives from Iran / Att Poomtangon: Portikus under water
Imi Knoebel at the Deutsche Guggenheim
Imprint  |   Legal Resources  |   Accessibility  |   Privacy Notice  |   Cookie Notice
Copyright © 2012 Deutsche Bank AG, Frankfurt am Main

+  ++  +++