Janaina Tschäpe: Melantropics Published by Contemporary Art Museum St. Louis 3750 Washington Boulevard St. Louis, Missouri 63108 This publication was prepared on the occasion of the exhibition Janaina Tschäpe: Melantropics September 15–December 31, 2006 Curated by Andrea Green, Associate Curator, for the Contemporary Art Museum St. Louis Funding for the exhibition has been generously provided by the Whitaker Foundation, William E. Weiss Foundation, Regional Arts Commission, Missouri Arts Council, a state agency, Arts & Education Council, and Friends and Members of the Contemporary, with in-kind support from the Chase Park Plaza Hotel, Sikkema Jenkins & Co., New York, and Pace Framing, St. Louis. Copyright © 2006 Contemporary Art Museum St. Louis, the artist, and the authors All rights reserved ISBN: 9780977752812 Library of Congress Control Number: 2006906554 Designed by Bruce Burton Copy edited by Kate Wagner Printed by Stolze Printing Company, Inc. Printed and bound in St. Louis, Missouri Available through D.A.P./Distributed Art Publishers 155 Sixth Avenue, 2nd Floor New York, New York 10013 Tel: (212) 627-1999 Fax: (212) 627-9484
Contents *************************************�
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Director’s Foreword Paul Ha
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Curator’s Acknowledgments Andrea Green
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Melantropics Andrea Green
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Janaina Tschäpe and the Pirlimpimpim Dust Ricardo Sardenberg
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Exhibition Checklist
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Biography
Director’s Foreword ************************************************************************************************************
I am delighted that the work of artist Janaina Tschäpe is kicking off the Contemporary’s fourth season. This exhibition reaffirms the Contemporary’s commitment to supporting artists of our time, including artists who create new work for our museum during residencies in St. Louis. Many of the photographs and one of the videos in the exhibition are the result of Tschäpe’s residency in St. Louis during the summer of 2006. The balance of the show was conceived and created in Rio de Janeiro, Brazil, and Brooklyn, New York. The series of photographs and the video made during Tschäpe’s weeklong residency at the Missouri Botanical Garden display her extraordinary ability to construct a world that is at once ethereal and inexplicable. I thank Janaina for producing this beautiful and powerful exhibition for the Contemporary, and I am proud to bring this work to the public. I am indebted to those whose generosity made the exhibition and the accompanying catalog possible. I would like to commend Andrea Green, the Contemporary’s Associate Curator, for organizing this exhibition and introducing Tschäpe’s work to the Midwest. I am fortunate to be part of a team that is continually reenergized through advocacy for artists and through the projects we present to our community. Bringing Tschäpe’s work to the Contemporary allowed us to create a new and important partnership with the Missouri Botanical Garden, and I am grateful to Dr. Peter Raven, Peggy Lents, Lisa Brandon, and Elizabeth McNulty for their spirit of collaboration and participation. We could not have picked a better backdrop for Tschäpe’s new body of work≠—the Botanical Garden is indeed magical. I would also like to recognize early and generous support from Michael Jenkins and Sikkema Jenkins & Co., New York. We are enormously thankful for the sponsorship of the Arts & Education Council; Missouri Arts Council, a state agency; Regional Arts Commission; William E. Weiss Foundation; and Whitaker Foundation; and my utmost gratitude goes to the Friends and Members of the Contemporary.
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As ever, I remain profoundly grateful to our board and its president, John Ferring, whose leadership and tireless dedication make it possible for the Contemporary to continue our work. I am also deeply obliged to Ricardo Sardenberg for contributing his thoughtful essay for our catalog. On behalf of the Museum and its Board of Trustees, I would particularly like to thank our dedicated staff members, who worked tirelessly on this exhibition. Paul Ha Director
Curator’s Acknowledgments ************************************************************************************************************
There are many individuals I would like to thank for their assistance with and contributions to Janaina Tschäpe: Melantropics. I am grateful for the dedication of the Board of Directors and entire staff of the Contemporary as we worked together to bring Janaina’s artwork to St. Louis. My heartfelt thanks and appreciation go to Paul Ha, Director, and Shannon Fitzgerald, Chief Curator, for their unyielding support, encouragement, and enthusiasm for this exhibition and its accompanying catalog. I would like to thank Brandon Anschultz, Exhibitions Manager, and Mike Schuh, Registrar, and their crew for the flawless installation of Janaina’s work and for their tireless dedication and attention to detail. My sincere thanks go to Bruce Burton, Graphic Designer, for his expertise and sensitivity to Janaina’s work in the design and production of this stunning catalog. Thank you to Rebecca Walsh, Program Assistant, for her curatorial and educational assistance. I am grateful for the education initiatives produced by Kathryn Adamchick, Director of Education, and Ben Shepard, Education Associate/Art Instructor, with a special thank you to the students of New Art in the Neighborhood and the Fusion Teen Program at Cardinal Ritter College Prep High School. I acknowledge with thanks the efforts of Lisa Grove, Deputy Director and Director of Development, and Jennifer Gaby, Manager of Public Relations, Marketing, and Events. My appreciation and gratitude go to the following staff members for their energetic work on this exhibition: Betsy Brandt, Erinn Gavaghan, Jason Miller, Cole Root, Kiersten Torrez, Sarah Ursini, and Mary Walters. The Contemporary Art Partnership docents deserve recognition for their engaging tours and dedication. I am indebted to the following interns for providing assistance over the course of this project: Elizabeth Dahlberg, Stephanie Finkelstein, Ellen Fuson, Matthew Levy, and Mark McLeod. I would like to thank Peter Raven, Director of the Missouri Botanical Garden, and his committed staff—Peggy Lents, Lisa Brandon, and Elizabeth McNulty—for making Janaina’s residency in St. Louis possible. The Garden proved to be the perfect location for Janaina’s photographs and video. My gratitude goes to the models who worked on location at the Garden:
Elizabeth Dahlberg, Hannah Gruber, Danae Mcleod, Natalie Popovic, Masha Vaynman, and Rebecca Walsh; they were all enthusiastic and a pleasure work with. Thanks go to Parque Lage in Rio de Janeiro for allowing Janaina to create the initial body of work for Melantropics there and to the models who braved the forest, fought off mosquitoes, and scaled trees: Luiza Cavendish Arraes, Francisca Carapeba Caldas, Dayane Conceicao, Clarice Falcao, Isabel Falcao, Daniela Fortes, Mariana de Moraes, Gracy Klen Moreno, and Rodrigo Sampaio de Souza. Special thanks go to Michael Jenkins of Sikkema Jenkins & Co., New York, and his staff for their contribution and help, which made this exhibition and catalog possible. I thank Teka Selman for her initial assistance with this project and for introducing me to Janaina’s work. I am grateful for the detailed and necessary efforts of Heige Kim and for Hannah Whitaker’s handling of the image reproductions. Thank you to Sandra Marchewa and Paul Young of Pace Framing in St. Louis for their exquisite work. I would like to thank Ricardo Sardenberg for his insightful and engaging essay, which provides a unique perspective on Janaina’s work and this exhibition. I am grateful for Kate Wagner’s meticulous editing of this publication; she is always a delight to work with. Thank you to Laura Strand at Southern Illinois University at Edwardsville (SIUE) for bringing Janaina in as a visiting artist. The support, humor, and ability to make us all smile of Vik Muniz and Mina Rosa Muniz Tschäpe is greatly appreciated. Finally, I would like to thank Janaina Tschäpe for creating a wonderful body of art to share with the Contemporary and the St. Louis community. Her dedication, enthusiasm, and process have inspired me, and I am thrilled to have had the opportunity to work with her on such a fun and engaging project. Andrea Green Associate Curator
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Melantropics, 2006, installation view at the Contemporary Art Museum St. Louis
Melantropics *****************************************************************************************************************************************************************************************************************************
By Andrea Green
The garden is a locus of marvel and delight, where plant life blossoms, flourishes, entices, withers, decays, and dies. It is also a place of simulation, as it can be effectively shaped, controlled, and cultivated. It is a territory that fosters growth and manipulation, where human intervention entwines with the organic. The garden, in both its public and private forms, is the foundation for the exhibition Melantropics, in which GermanBrazilian artist Janaina Tschäpe explores the amalgamation of costumed female bodies and landscape through the use of photography, video, and drawing. The result is a curious botanical milieu embodied with notions of solitude and fantasy. The title for the exhibition, Melantropics—which combines the words melancholy and tropics≠—is a concept invented by Tschäpe that refers to the epidemic of melancholy that occurred in Brazil at the end of the 19th century. This hybridity is a thread throughout Tschäpe’s work and titles—she combines elements found in nature with fabricated costumes and props and blends words and languages to form new ones, which results in her own fictitious botanical nomenclature and constructed environments that hover between the natural and artificial.
Tschäpe produced a new series of photographs and a video during a weeklong residency at the Missouri Botanical Garden in St. Louis. Founded by Henry Shaw in 1859, it is one of the oldest botanical institutions in the country and a National Historic Landmark. The Garden serves as an oasis in the city of St. Louis—79 acres of horticultural display include a 14-acre Japanese strolling garden and the Climatron conservatory, which simulates a tropical lowland rainforest. In addition to the work made in St. Louis, Melantropics also includes photographs and videos Tschäpe produced at the tropical Parque Lage, located in Rio de Janeiro, Brazil. Designed in the late 1840s by the English gardener John Tyndale, Parque Lage is comprised of gardens, dense forests, and small grottos. The starting point for Melantropics is a suite of small-scale color photographs from the Botanica series that were created among gardens in Weimar, Germany, and within the artist’s private garden in Brooklyn, where she cultivates a variety of plant life. In these photographs, existing vegetation is embellished with 9
placticine or newly fabricated forms that reference human reproductive organs or whimsical flowers and otherworldly vegetables are introduced into the landscape. Sculpted forms such as lavender petals provoke the viewer to question what is natural and what is made by the artist, as the differential between the two is not clear. Tschäpe plays with the notions of fantasy and fairy tale, creating works that could be snippets from a children’s tale—such as Alice in Wonderland, which features incredible gardens. Yet the works still embody a sense of the natural. This tension between the real and the artificial gives the photographs an indeterminate locale. Juxtaposed with the Botanica series is a large-scale watercolor drawing, Primavera. Saturated patches of reds, blues, yellows, and greens are overlaid with loosely drawn plant life. The artist’s hand is evident in this aqueous garden landscape that has emerged from memory and imagination.
the verdant green lawn lies motionless as if at rest, asleep, or possibly deceased. Although female bodies activate the costumes, creating volume and dimension, evidence of human anatomy is minimal. The costumes themselves are emphasized. Hair covers faces, becoming extensions of the costumes, limbs are hidden within the bulbous armatures, and tails and tentacles blend with existing arms and legs. In other photographs, Tschäpe populates the surroundings with vegetation she shapes from handmade fabric in an effort to create a tension between what is natural and what is artificial. These surreal sculptural forms of bright oranges, blues, yellows, and greens appear to be new growths with magical or perhaps even invasive origins. Tschäpe plays with an implied narrative, suggesting that an unusual scenario has occurred or is about to take place. The photographs seem to be fragments of a larger whole, possibly film stills from a science fiction movie or documentation of a newly discovered species.
Primavera segues into the large-scale photographs created at the Missouri Botanical Garden and Parque Lage. Tschäpe directed these performance-oriented photographs among lush botanical settings with human models, in this case young, quiescent women wearing artist-made costumes that are biomorphic in form and include various appendages of latex, inflatables, and colorful fabrics. These curious, artificial extensions of the youthful female body evoke imaginary creatures. The models interact with props—such as helium-filled balloons and fabric forms—and the natural and man-made surroundings. The vibrant costumes transform individuals into hybrid living things—part creature, part flower—where they linger quietly in a location that is neither here nor there (not quite in the natural world and not fully in the realm of fiction). In these images, the discovery of a new mythic creature in its habitat suggests that secrets abound.
The large-scale photographs from the public settings are complemented with Polaroids Tschäpe produced in her garden. These images contain paper-doll cutouts of costumed models that are arranged within the foliage and then rephotographed. The pixielike figures and garden nymphs interact with their enchanted settings. As referenced in the title of the series, A Botanist’s Dream, these tiny hybrid creatures might be found in a terrarium where they frolic in their surroundings and are kept captive for display, study, and enjoyment. These intimate photographs make reference to the legend of the Cottingley Fairies in England. In the early 1900s, two cousins photographed paper cutouts of winged figures in natural surroundings and portrayed them as proof of the existence of fairies. This kind of hoax or trickery is not at the heart of Tschäpe’s work, but the placing of fabrications within the natural is an integral part of Tschäpe’s photographs. This layering in a three-dimensional environment is then compounded into a single-frame photograph, creating a twodimensional fictitious diorama.
Nestled within the lush foliage of the garden, the young woman in the photograph Ovalaria Floris might be mistaken for a flower or a garden nymph. Pink and white fabric appendages drape from her body and lie beside her like flower petals that have fallen from the tree she sits beneath. In Octopussi Mollis, a squidlike creature with protruding tentacles spread out on 10
Accompanying the Polaroids in the exhibition are three videos from the Insomnia series. The videos are silent, inviting the viewer to contemplate the fragmented narrative of the figures
interacting with their surroundings. In Insomnia I, a woman stops in the midst of her journey through the dense forest of Parque Lage. Pulling along a suitcase of her wares, she pauses next to a tree where a piece of green fabric hangs down to the ground from the branch it is wrapped around. She scales the fabric effortlessly, like an acrobatic nymph, and she then begins the process of ritualistically wrapping and unwrapping herself in the fabric. Twisting and turning, she creates a pocket out of the fabric to rest in, as if coddled within a cocoon. Often changing positions, the woman cannot seem to find a comfortable position; she is in a constant state of flux. After brief pauses, the woman slides down the fabric, puts on her shoes, and then continues on her journey through the forest. This is the only imagery within Melantropics in which the human figure is completely revealed; here Tschäpe provides a glimpse into the transformation of the models as they shift from reality to imagination. In Insomnia 2, a mythic creature lurks restlessly in a cave, pulling and carrying her appendages and moving from one side to another, endlessly searching for a place to be still. This repetitive movement continues in Insomnia 3, where the same figure from Ovalaria Floris tumbles down a hill over and over again. In all three videos, the subjects are in a state of suspension—stuck in a recurring cycle of restlessness. The settings Janaina Tschäpe conceives in her work are vibrant, seductive, surreal, and at the same time contemplative, still, and melancholic. Her fabricated creatures and vegetation enhance existing botanical environments by taking them into the realm of dream and fantasy. A compelling tension is created through this process, resulting in an unusual artifice—a melantropics.
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Insomnia 1, 2006, (ďŹ lm stills), DVD, 11 minutes, 14 seconds, looped. Courtesy of the artist and Sikkema Jenkins & Co., New York
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opposite and above: Melantropics, 2006, installation views at the Contemporary Art Museum St. Louis
Untitled, 2004, (detail), watercolor on paper, 5 1/2 x 101 1/5 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Janaina Tschäpe and the Pirlimpimpim Dust *****************************************************************************************************************************************************************************************************************************
By Ricardo Sardenberg When Janaina Tschäpe removed herself from her photographs and let other bodies act out her performances, she inverted the game of her artwork. In her early work, her body was the subject of the action; it transformed the landscape or transformed itself by means of makeup, devices, and improvisations. The camera was an extension of her body. For example, Tschäpe, dressed as a clown, submerged herself in a bathtub and made a self-portrait by stretching her arm out of the water. She became the object of her photograph the image of a suicide, an inverted Narcissus. These early works were personal performances, solitary, as if exorcising a whole past by means of private rites. Slowly, the
body gained representativeness. Artificial characters emerged out of the artist’s transformations, eventually ripping through the body’s wrapping and becoming autonomous. New rules were created for new games. In this moment the “Kingdom of Clear Waters” emerged in Tschäpe’s work, where the characters tell the tale, take over, and become the tale. This kingdom is found in a chapter of the Brazilian children’s book Reinações de Narizinho, by Monteiro Lobato.1 The doll Emília takes over one of Lobato’s stories after she swallows Dr. Snail’s magic pill, learns to talk, and never stops. The universe of the fable, of the fairy tale, is retold as if one is participating in it and modifying it at will. This universe is the margin.
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Monteiro Lobato (1882–1948), the most renowned author of children’s literature in Brazil, wrote Reinações de Narizinho in 1931. His work can be compared to Lewis Carroll’s in terms of the rich and symbolic im� Sítio do Pica-Pau Amarelo (Ranch of the Yellow Woodpecker), where the “pirlimpimpim dust” contained in the title of � to the magical worlds of La Fontaine’s and Aesop’s tales for incredible adventures.—Ed. 17
The Other enters Tschäpe’s stage, and what was private before, now is collective. All have to believe in the existence of monsters, heroes, fairies, and witches in her dreamlike universe of myths, fiction, and play. The participants, seduced by the artist’s mermaid songs, develop a constant state of imagination, a state of hypersensitivity typical of children’s tales, in a kind of melancholic epiphany. Melancholy can be found in its ancient state in the way it influences the bodies of Tschäpe’s models. It was believed that under the influence of the melancholic humor the body could be undone into pure imagination. Maybe this is what happens with Lobato’s characters: they are bodies that dematerialize into fiction. Everything takes place from the starting point of the game.2 The game is a space where relationships are built by clear rules separate from daily life. It also contains a relationship between tension and pleasure: the tension of doubt (Is it going to work out?) and the obvious pleasure of playing a game. Still, the game is prior to culture. If we look at animals, we see that they know how to play games with each other, establishing rules of how and when to bite, or faking feelings, for example. In this sense, the game holds meaning within itself. Culture has emerged and reified the game, separating it from the flux of life. The game is key to understanding Tschäpe’s work, for the artist’s creativity is above all linked to life and not to established concepts. Here, the game is prior to culture: before the game was impregnated by culture and became an object constitutive of the relationships between beings, before the game was reified. When the game crystallizes, it disappears within culture as if in a sleight of hand, ceasing to hold its own meaning and featuring physiological and psychological aspects. In daily life we are accustomed to seeing the concealed forms of the game as social staging through culture, but never prior to it. Creativity, for Tschäpe, enters as an instrument of reintroduction, or better, the gushing of the game as life flux, where all participants entertain the hope of working with a meaning prior to culture. The art production process, when collective, finds itself in the margin between being a signifier (holding its own meaning), like the game, and being culture’s structure (with 18
physiological and psychological meanings). Tschäpe’s friends are asked to participate in her work with their bodies under more or less established rules, which aim to elaborate a new fantastic reality. There is a half-narrative and there are characters that need to be incorporated therein. But, before that, all need to make the trip from daily life to fantasy. In Monteiro Lobato’s Reinações de Narizinho, the invisible character Peninha gives the children of the Sítio do PicaPau Amarelo (Ranch of the Yellow Woodpecker) his famous pirlimpimpim dust, which transports them from the structured world into the fables of La Fontaine and Aesop. The Sítio do Pica-Pau Amarelo gang and the great fabulists meet in the jungle. La Fontaine and Aesop do not invent their fables in Lobato’s stories, but, instead, they live in the jungle observing the animals. For instance, the ant and the cricket act out their own destinies over the centuries, and, consequently, they also act out the very moral of the tale. However, the doll Emília intervenes in the fable and changes its conclusion: a kind of halfway between the universe of established culture and that of fantasy. Emília is the transforming agent of the institution of the original fable. The Sítio do Pica-Pau Amarelo gang live their adventures by reenacting the famous French and Greek fables, which are inevitably modified by the presence of these new characters. And the morals of the tales change. The rules of Tschäpe’s game are composed of an Aristotelian conception of melancholic humor in which the soul detaches from the body and, with the help of an energizing and inspiring force, enables future events to be foreseen.3 Melancholy here is shown as a positive vector, one of hypersensitivity, ecstasies, and fantastic visions. What before were established relationships within patterns, are now transformed into fantasy, and the “process” becomes the celebration of creation and the creational game that is crystallized in Tschäpe’s work. ************************************************************************************************************ 2 The central thesis of the game was taken from the book Homo Ludens, by Johan Huizinga (São Paulo: Perspectiva, 1980). 3
Moacyr Scliar Saturno nos Trópicos—a melancolia européia chega ao Brasil (SP: Editora Companhia das Letras. Primeira edição, 2003), 79.
Dani 1 (from After the Rain), 2003, Cibachrome, 20 x 30 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Untitled, 2004, (detail), watercolor on paper, 5 1/2 x 101 1/5 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Janaina Tschäpe and the Earthly Heaven The idea of Brazil itself came into being along with the idea of the existence of an earthly heaven that could be reached by those who ventured in its search. According to sacred texts, this Garden of Eden was protected by terrible monsters or great hardship, and these descriptions were amplified by the accounts of sailors and explorers, at a time when Europe was stepping out of a century that was devastated by horrible plagues that killed over half its population. The earthly heaven was a world of absolute abundance, where it would be possible to make every dream come true: from the profusion of food to free sex, from liberty without any social restraint to eternal health without death to put an end to the flux of life on Earth, as well as miraculous rivers and golden fountains that gush gold and people who feed themselves through the simple smell of fruit. Reinforced by paintings, drawings, and engravings in 16th and 17th century Europe, the illusion concerning what existed south of the equator was always related to seductive abuses, sensual dreams, and a luxurious exoticism. Gold and the colors of an exuberant flora and abundant waters are the predominant shades in these heavenly excitements. This sensualist imagination is still present in modern times. The work of Janaina Tschäpe gets its inspiration from that propensity to the imaginary. It is a testimony to the belief in the imagination. Without abandoning photographs and videos, Tschäpe has made drawings the central element of a new order for her work. The characters have become less a part of a story than of a landscape. That landscape was developed over time. In small sketching notebooks Tschäpe obsessively effused colored scribbles that sometimes resembled organs of the human body and at other times appeared to be landscapes lost somewhere in memory. They were representations of the simple pleasure of painting, of the company of paper and of pencil cases that were consumed with an infantile voraciousness, like a child that can have as many pencils and paper as he or she wishes at his or her disposal. As time went by, the images began to settle and the drawings gained scale, the colors and paint became denser,
and the forms became clearer. Tschäpe found a garden where imaginary and real plants mingled. A kind of garden that meets its exuberance, but instead of having a scientific attitude, there is an earthly heaven of aquatic plants and golden colors. These drawings are of landscape style; they are more about landscape than narrative. Roberto Burle Marx was certainly the most influential Brazilian landscape architect of the last century. His work can be seen at Aterro do Flamengo, on the sidewalks of the Copacabana beach, in private homes, and in many other places throughout Brazil. Burle Marx realized he was a landscape architect during 1928 and 1929, while he was studying painting in Berlin. He often visited Berlin’s Dahlem Botanic Garden, where he learned about Brazilian flora, which was typical of Brazilian artists of the modern period who often reencountered Brazil by leaving it. The most surprising things in Burle Marx’s unusually beautiful gardens are the masses of color, as well as the forms and colors of exotic plants and flowers. Much of this is similar to Tschäpe’s work, from the monumental scale to the colors and forms. According to Burle Marx, a garden “is a live work of art which results from the combination of different forms and colors, as is also the case with painting and with musical sounds.” And, “a good garden is one that reveals spatial comprehension and juxtaposition of forms and volumes, as in painting and in architecture.”4 But the proximity of these two artists of such distant generations might be explained by the fact that a garden lives by and depends on the water that sustains it. Indeed, the gardens made by Burle Marx often contain lakes with flora immersed in them. In fact, Tschäpe’s work resembles a Victoria regia, an aquatic plant typical of the Amazon and of flooded regions. It has large, circular leaves with folded edges, creating a basin that can reach 6 feet in diameter. The Victoria regia’s leaves float on the water, and they often open at night. This explains the existence of an Amazon Indian legend in which a little girl loved the moon and the stars so much that she believed that someday the moon ************************************************************************************************************ 4 Maria Julieta Drummond de Andrade, “Roberto Burle Marx,” O Globo, January 5, 1984, 29.
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Untitled, 2004, watercolor on paper, 5 1/2 x 101 1/5 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
would come to get her and change her into a star. One night the girl bent over a river to admire the sky full of stars reflected in the water, which hypnotized her. Diving into the water, the little girl turned into a Victoria regia. This tale, which combines water, sky, and a chimeric organic transformation, illustrates all the imaginary aspects that are present in Tschäpe’s work. Water, the source of life and, at the same time, a soft and sensual element, is present as the transforming agent. Tschäpe’s drawings, which absorb a large amount of water as she applies watercolor pigments, are transformations of nature. In a certain way, the plants that emerge from new forms in the drawings generate the characters in the photographs: botanical animals that are swallowed by flora, by the jungle, or by a botanical garden. The photographs in this exhibition are full of transforming processes and clashes between the cultural, the botanical garden, and the natural. The animals made of gas, rubber, and cloth are constructions that intervene in the garden and deconstruct its sorting feature. Without the narratives of fables or imaginary stories, the only thing that remains in Tschäpe’s photographs is the shock of the strange inserted in the landscape. When Janaina Tschäpe’s work is viewed as a whole, her quest for the beautiful, the pleasurable, and the sensual becomes clear.
************************************************************************************************************ Ricardo Sardenberg is an independent curator based in Belo Horizonte, Minas Gerais, Brazil. Sardenberg was Director of Centro de Arte Contemporânea Inhotim, Brazil, from 2001 to 2005; Director of Galeria Camargo Vilaça, São Paulo, Brazil, from 2000 to 2001; Adjunct Curator at Pinacoteca de São Paulo, São Paulo, Brazil, from 1999 to 2000; and Director of Zabriskie Gallery, New York, New York, from 1993 to 1998. He recently curated the exhibition José Bento: Chão at Galeria Bergamin, São Paulo, Brazil.
Translated from Portuguese by Gavin Adams and Rodrigo Sardenberg. 23
Melantropics, 2006, installation view at the Contemporary Art Museum St. Louis
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Xicletoformis Geminis, 2005, glossy C-Print, 50 x 40 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York opposite page: Octopussi Mollis, 2006, glossy C-Print, 40 x 50 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Bulbosus Neros, 2006, glossy C-Print, 30 x 24 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York opposite page: Ovalaria Floris, 2006, glossy C-Print, 50 x 60 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Xicletoformis Pluralis, 2005, glossy C-print, 60 x 50 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York opposite page: Glandulitera Maris, 2005, glossy C-Print, 40 x 50 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Indigus Gentilis (Oculus), 2005, glossy C-Print, 24 x 30 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York opposite page: Pendulus Somnis, 2005, digital glossy C-Print, 50 x 60 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Veratrum Bulbosus, 2006, glossy C-Print, 40 x 50 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York opposite page: Boboras Autumnalias, 2005, glossy C-Print, 50 x 60 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Melantropics, 2006, installation view at the Contemporary Art Museum St. Louis
Floribunda Noturna, 2004, R-Print, 10 1/2 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
top: TurďŹ cus Nebulatu, 2004, C-Print, 8 3/4 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York bottom: Melancholicus Strelatus, 2004, C-Print, 8 3/4 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Phallus Impudicus, 2004, R-Print, 10 1/2 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
top: Oculis Fundis, 2005, digital C-Print, 9 1/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York bottom: Rosalinda Humida, 2005, digital C-Print, 8 5/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
top: Cogumelus Venum, 2005, digital C-Print, 8 5/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York bottom: Fungus Lunaticus, 2005, digital C-Print, 9 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Azulis Venosus, 2005, digital C-Print, 13 x 8 5/8 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
top: Tomatus Phobicus, 2004, R-Print, 10 1/2 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York bottom: Musgus Sombris, 2005, digital C-Print, 8 5/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
top: Cadmium Infecto, 2005, digital C-Print, 9 1/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York bottom: Crocodilus LiďŹ cus, 2005, digital C-Print, 8 5/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Inatum Laranjatha, 2004, R-Print, 10 1/2 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Primavera, 2006, watercolor on paper, 60 x 119 inches. The Misumi Collection, Tokyo, courtesy Sikkema Jenkins & Co., New York opposite: Primavera (detail)
Melantropics, 2006, installation view at the Contemporary Art Museum St. Louis
A Botanist’s Dream 3, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
left: A Botanist’s Dream 7, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York right: A Botanist’s Dream 1, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
left: A Botanist’s Dream 2, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York right: A Botanist’s Dream 6, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
left: A Botanist’s Dream 8, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York right: A Botanist’s Dream 9, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
left: A Botanist’s Dream 4, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York right: A Botanist’s Dream 5, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York
Melantropics, 2006, installation view at the Contemporary Art Museum St. Louis
left: Insomnia 2, 2006, (ďŹ lm stills), DVD, 16 minutes, 32 seconds, looped. Courtesy of the artist and Sikkema Jenkins & Co., New York right: Insomnia 3, 2006, (ďŹ lm stills), DVD, 11 seconds, looped. Courtesy of the artist and Sikkema Jenkins & Co., New York
Exhibition Checklist ************************************************************************************************************ All works are courtesy of the artist and Sikkema Jenkins & Co., New York, unless otherwise indicated. Boboras Autumnalias, 2005, glossy C-Print, 50 x 60 inches
Floribunda Noturna, 2004, R-Print, 10 1/2 x 13 inches
Glandulitera Maris, 2005, glossy C-Print, 40 x 50 inches
Inflatum Laranjatha, 2004, R-Print, 10 1/2 x 13 inches
Xicletoformis Geminis, 2005, glossy C-Print, 50 x 40 inches
Melancholicus Strelatus, 2004, C-Print, 8 3/4 x 13 inches
Xicletoformis Pluralis, 2005, glossy C-print, 60 x 50 inches
Phallus Impudicus, 2004, R-Print, 10 1/2 x 13 inches
Pendulus Somnis, 2005, digital glossy C-Print, 50 x 60 inches
Tomatus Phobicus, 2004, R-Print, 10 1/2 x 13 inches
Indigus Gentilis (Oculus), 2005, glossy C-Print, 24 x 30 inches
A Botanist’s Dream 1, 2006, Polaroid, 9 1/2 x 7 1/2 inches
Veratrum Bulbosus, 2006, glossy C-Print, 40 x 50 inches
A Botanist’s Dream 2, 2006, Polaroid, 9 1/2 x 7 1/2 inches
Octopussi Mollis, 2006, glossy C-Print, 40 x 50 inches
A Botanist’s Dream 3, 2006, Polaroid, 9 1/2 x 7 1/2 inches
Ovalaria Floris, 2006, glossy C-Print, 50 x 60 inches
A Botanist’s Dream 4, 2006, Polaroid, 9 1/2 x 7 1/2 inches
Bulbosus Neros, 2006, glossy C-Print, 30 x 24 inches
A Botanist’s Dream 5, 2006, Polaroid, 9 1/2 x 7 1/2 inches
Primavera, 2006, watercolor on paper, 60 x 119 inches The Misumi Collection, Tokyo
A Botanist’s Dream 6, 2006, Polaroid, 9 1/2 x 7 1/2 inches
Azulis Venosus, 2005, digital C-Print, 13 x 8 5/8 inches
A Botanist’s Dream 8, 2006, Polaroid, 9 1/2 x 7 1/2 inches
Cadmium Infecto, 2005, digital C-Print, 9 1/8 x 13 inches
A Botanist’s Dream 9, 2006, Polaroid, 9 1/2 x 7 1/2 inches
Cogumelus Venum, 2005, digital C-Print, 8 5/8 x 13 inches
Insomnia 1, 2006, DVD, 11 minutes, 14 seconds, looped
Crocodilus Lificus, 2005, digital C-Print, 8 5/8 x 13 inches
Insomnia 2, 2006, DVD, 16 minutes, 32 seconds, looped
Fungus Lunaticus, 2005, digital C-Print, 9 x 13 inches
Insomnia 3, 2006, DVD, 11 seconds, looped
A Botanist’s Dream 7, 2006, Polaroid, 9 1/2 x 7 1/2 inches
Musgus Sombris, 2005, digital C-Print, 8 5/8 x 13 inches Oculis Fundis, 2005, digital C-Print, 9 1/8 x 13 inches Rosalinda Humida, 2005, digital C-Print, 8 5/8 x 13 inches Turficus Nebulatu, 2004, C-Print, 8 3/4 x 13 inches
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Biography
Blood, Sea, University of South Florida, Contemporary Art Museum, Tampa, Florida The Sea and the Mountain, Sikkema Jenkins & Co., New York, New York
************************************************************************************************************ Janaina Tschäpe Born 1973, Munich, Germany Lives and works in Brooklyn, New York
2003
After the Rain, Catherine Bastide, Brussels, Belgium Centre d’Art à Albi, Toulouse, France Galeria Fortes Vilaça, São Paulo, Brazil
Education 1997–1998
Master of Fine Arts, School of Visual Arts, New York, New York
Strange and Beautiful (Janaina Tschäpe and Mariele Neudecker), Sketch Gallery, London, United Kingdom
1992–1998
Fine Arts Studies, Hochschule für bildende Künste, Hamburg, Germany
After the Rain, Galeria Fortes Vilaça, São Paulo, Brazil
Solo Exhibitions
The Moat and the Moon, Images au Centre, Le Château d’Azay-leRideau, Azay-le-Rideau, France
2007
Sikkema Jenkins & Co., New York, New York
New Works, Agua Viva, Nichido Contemporary Art, Tokyo, Japan
2006
Janaina Tschäpe: Melantropics, Contemporary Art Museum St. Louis, St. Louis, Missouri
2002
Dream Sequences, Art Concept, Paris, France
Janaina Tschäpe, Tokyo Wonder Site, Tokyo, Japan
Sala de Espera, Paço das Artes, São Paulo, Brazil
Janaina Tschäpe, Artium, Fukuoka, Japan
Janaina Tschäpe, Frac Champagne-Ardennes, Reims, France
Camaleoas, Z Platz, Fukuoka, Japan Janaina Tschäpe, Galeria Fortes Vilaça, São Paulo, Brazil
2001
Paço das Artes, São Paulo, Brazil 2005
He Drowned in Her Eyes as She Called Him to Follow, Catherine Bastide, Brussels, Belgium
Blood, Sea, Catherine Bastide, Brussels, Belgium 2000
He Drowned in Her Eyes as She Called Him to Follow, Artforum Berlin, Clinica Aesthetica, Berlin, Germany
1999
Entering The Space That Produces Liquid, Jensen Gallerie, Hamburg, Germany
1998
Entering The Space That Produces Liquid, Clinica Aesthetica, New York, New York
Janaina Tschäpe, UB Art Gallery, Buffalo, New York Blood, Sea, Espaço Maria Bonita, São Paulo, Brazil 2004
Lacrimacorpus, ACC Galerie, Weimar, Germany Janaina Tschäpe, Prospectif Cinéma, Centre Pompidou, Paris, France
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Sala de Espera, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain Anatomy, Galeria Camargo Vilaça, São Paulo, Brazil
Lacrimacorpus, Nichido Contemporary Art, Tokyo, Japan Janaina Tschäpe, carlier | gebauer, Berlin, Germany
Exercises, carlier | gebauer, Berlin, Germany
1997
A Viagem, Centro Cultural Ricoleta, Buenos Aires, Argentina
1996
Untitled, Galeria Espaço Cultural Sergio Porto, Rio de Janeiro, Brazil
2003
Ordnung und Chaos, Fotomuseum, Winterthur, Switzerland Paço das Artes, São Paulo, Brazil
Group Exhibitions
On This Side of the Sky: UNESCO Salutes Women in Art, UNESCO, Paris, France
2006
Art Fab, St. Tropez, France
Identity, Nichido Contemporary Art, Tokyo, Japan
Video Festival, Contour, Malines, Belgium
Ambivalence, Z Platz Museum, Fukuoka, Japan
Nature Attitudes, Thyssen-Bornemisza Art Contemporary, T-BA 21, Vienna, Austria
2002
Récits, Abbaye Saint-André, Centre d’Art Contemporain, Meymac, France
Me, Myself and I: Artist Self-Portraits from the Heather and Tony Podesta Collection, Curator’s Office, Washington, DC; Contemporary Art Center of Virginia, Virginia Beach, Virginia
Interventions, Nuit des Musées, La Fondation Musée d’Art Moderne Grand-Duc Jean, Luxembourg, Luxembourg
Evolving Identies, ROCA, New York, New York 2005
Nuites Blanches, Palais de Tokyo, Paris, France
Alem da Imagem, Instituto Telemar, Rio de Janeiro, Brazil
Caminhos do Contemporâneo, Paço Imperial, Rio de Janeiro, Brazil
Croiser des Mondes, Jeu de Paume, Paris, France Alguns Libres d’Artista, ProjecteSD, Barcelona, Spain
Morro/Labyrinth, Brasilianisches Kulturinstitut in Deutschland, Berlin, Germany
The White Rose, Sikkema Jenkins & Co., New York, New York
Morro/Labirinto, Paço Imperial, Rio de Janeiro, Brazil
Landscape Confection, Wexner Center for the Arts at The Ohio State University, Columbus, Ohio; Contemporary Art Museum, Houston, Texas; Orange County Museum of Art, Newport Beach, California
Stories, Haus der Kunst, Munich, Germany
Acting Out: The Invented Melodrama in Contemporary Art, The University of Iowa Museum of Art, Iowa City, Iowa; Neuberger Museum of Art, Purchase College, State University of New York, Purchase, New York Shifting Worlds, Kunsthalle Fri-Art, Fribourg, Switzerland Water, Water Everywhere…, Scottsdale Museum of Contemporary Art, Scottsdale, Arizona Art Robe, UNESCO, Paris, France 2004
Multiplos, Galerie Luisa Strina, São Paulo, Brazil
Identity II, Nichido Contemporary Art, Tokyo, Japan Janaina Tschäpe, The Neistat Brothers and Hiraki Sawa, The 59th Minute: Video Art on the Times Square Astrovision, Creative Time, New York, New York Unclosed Stories, Unlimited, Athens, Greece
2001
Panorama da Arte Brasileira, Museu de Arte Moderna de São Paulo, São Paulo, Brazil; Museu de Arte Moderna da Bahia, Salvador, Brazil; Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil Rotativa Fase 1, Galeria Fortes Vilaça, São Paulo, Brazil In Riva al Mare Mai Stanco, Riviera di Chiaia, Naples, Italy Pay Attention Please, MAN, Museo D’arte Nuoro, Sardinia, Italy My Generation, 24 Hour Video Art, Atlantis Gallery, London, United Kingdom Uma Geração em Trânsito, Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil Virgin Territory, National Museum of Women in the Arts, Washington, DC Absences, Riksutstillinger, Oslo, Norway 59
2000
1999
Personal Permanent Records, Blue Starr, Houston, Texas
Selected Bibliography
Vanitas Personae, Gallery Sabine Knust, Munich, Germany
2006
Sei Artist per Goethe, Eine Italienische Reise, Palazzo delle Esposizioni, Rome, Italy; Goethe-Institut, Naples, Italy
Con los ojos del otro: Una muestra videoartistas brasilieños. Montevides, Spain: Centro Cultural España.
BluePrint, Spark Gallery, New York, New York
Benjamin Genocchio. “Brazil, With The Clichés Erased.” The New York Times Review, April 16.
Face Value, Miyako Projects, New York, New York Personal Permanent Records, Center of Photography, Woodstock, New York
1998
Janaina Tschäpe. São Paulo, Brazil: Paço das Artes.
2005
Water, Water Everywhere…. Scottsdale, Arizona: Scottsdale Museum of Contemporary Art. Acting Out: Invented Melodrama in Contemporary Photography. Iowa City, Iowa: The University of Iowa Museum of Art.
Der Brasilianische Blick, The Collection of Gilberto Chateaubriand/ Brazilian Contemporary Art, Haus der Kulturen de Welt, Berlin, Germany; Ludwigforum, Aachen, Germany
Croiser des mondes. Paris, France: Jeu de Paume. Ted Mann. “Acquisitions.” Guggenheim, Fall, 11.
K 3-Kampnagel, Absolventen der Hochschule für bildende Künste, Hamburg, Germany
Landscape Confection. Columbus, Ohio: Wexner Center for the Arts, The Ohio State University.
Four Walls Screening, Art in General, New York, New York 2004
100 Little Deaths. Reims, France: Le Collège Editions/Frac Champagne-Ardenne.
1997
Dimensão da Arte Contemporanea Brasileira, Museu de Arte Contemporanea, São Paulo, Brazil
1996
Hamburger Boerse, Studenten der Hochschule für bildende Künste, Hamburg, Germany
Stephen Maine. “Janaina Tschäpe at Brent Sikkema.” Art in America, November, 171.
Diálogo, Goethe-Institut, Museu de Arte Moderna, Rio de Janeiro, Brazil
Christine Schwartz Hartley. “Ensemble Production.” Interior Design, August, 134–40.
Viva Brazil, Museo de Arte Contemporâneo, Santiago, Chile
Raul Zamundo. Art Nexus, no. 53, July, 136–37.
Corpo sobre Corpo, Museu de Arte Moderna, Rio de Janeiro, Brazil
Mack Von Gerhard. “Gedächtnis der Bilder.” Art Das Kunstmagazin, no. 2, February, 79–85.
1995
Janaina Tschäpe. Tokyo, Japan: Nichido Contemporary Art.
Objetos e Instalações, Museu de Arte Moderna, Salvador, Brazil
Steve Dollar. “Playful Fantasy Clips in a New York Minute.” Newsday.com, January 18.
Metrópolis e Periferia, Goethe-Institut and Deutsch-Brasilianische Kulturinstitute, Rio de Janeiro, Brazil
Bernard Marcelis. “Images au Centre photographie, Vidéo et patrimoine.” Art Press, January, 82.
Kulturelle Vereinigung, Museu de Arte Moderna, Rio de Janeiro, Brazil 1994
Salão de Artes Plásticas, Museu de Arte Moderna, Salvador, Brazil Ausência, Museu de Arte Moderna, Salvador, Brazil
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2003
Anaïd Demir. “Contes & Chimères.” Jalouse, no. 66, December, 68–70. Dominique Von Burg. “Poesie selbst im Schrecklichsten.” ZürichseeZeitung, December 18.
Daniel Di Falco. “Der Bilderschatz von Winterthur.” Der Bund, November 11. Michel Guerrin. “La photo, invitée discrète des château de la Loire.” Le Monde, November 11.
21st Century Museum of Contemporary of Art, Kanazawa, Japan
Linda Yablonsky. “Putting guts on the outside.” ArtNews, September, 105.
Caisse des Dépots et Consignations, Paris, France
Banco Espirito Santo, Lisbon, Portugal
G. C. “L’étrange chassé-croisé des Cimaise et Portique.” Le Tarn Libre, August 29, 6.
Centre Pompidou, Paris, France
Nahima Maciel. “Mapa de origins Latinas.” Correio Braziliense, Caderno C, Brazil, July 21.
Coleção Gilberto Chateaubriand, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil
Elder Ogliari. “Arqueologia moderna conduz Bienal do Mercosul.” O Estado de São Paulo, Caderno 2, July 14.
Collection Museu Nacional Centro de Arte Reina Sophia, Madrid, Spain
Claire Moulene. “Chassé-Croisé François Curlet/Janaina Tschäpe à Albi.” Les inrockuptibles, arts/scenes/styles.
Fondation Belgacom, Brussels, Belgium
A. M. M., “Organisée par Cimaise et Portique ‘Chassé-Croisé’ une fable d’été.” Tarn, July 13.
Fondation Antoine de Galbert, Paris, France
Clifford Chance, US LLP, New York, New York
Fondation la Maison Rouge, Paris, France Frac Champagne-Ardennes, Reims, France Images au Centre Collection, Paris, France
On This Side of the Sky, Paris, France: UNESCO.
Itaú Cultural, São Paulo, Brazil
Bernard Marcelis. “Janaina Tschäpe.” Art Press, May, 73.
Moderna Museet, Stokholm, Sweden
Olivier Michelon. “Icône Gothique.” Le Journal des Arts, no. 145, March 22–April 4. Stories, Munich, Germany: Haus Der Kunst.
2001
Public Collections
Régnier Phillippe. “A fleur de peau.” Le Journal des Arts, no. 177, September 26–October 9, 10.
Annabel Wright. “New gallery in Ginza hunts for what it means to be human.” Daily Yomiuri, March 27, 20.
2002
Virgin Territory, Women, Gender and History in Contemporary Brazilian Art. Washington, DC: National Museum of Women in the Arts.
Absences. Stockholm, Sweden/Paris, France: Fravaerabsences. Françoise-Aline Blain. “Artiste du Mois, Janaina Tschäpe.” BeauxArts Magazine, no. 214, March. Celso Fioravante. “Janaina Tschäpe.” Tema Celeste, no. 87, September–October. Sala de Espera, Madrid, Spain: Museu Nacional Centro de Arte Reina Sofia, Ediciones del Museu Nacional Centro de Arte Reina Sofia.
Musée d’Art Moderne Grand-Duc Jean, Luxembourg, Luxembourg Museu de Arte Moderna da Bahia, Salvador, Brazil Progressive Corporation, Cleveland, Ohio SMAK, Stedelijk Museum voor Actuele Kunst, Gent, Belgium Solomon R. Guggenheim Museum, New York, New York Thyssen-Bornemisza Art Contemporary, Vienna, Austria Tokyo Roki Co. Ltd., Tokyo, Japan University of South Florida, Contemporary Art Museum, Tampa, Florida
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Janaina Tschäpe would like to give special thanks to: Missouri Botanical Garden Parque Lage Andrea Green Bruce Burton Teka Selman Ricardo Sardenberg Michael Jenkins Vik Muniz Mina Rosa Muniz Tschäpe Lauda and Klaus Tschäpe Heidi Tschäpe Christine Filer Christiane Tschäpe Daniela Fortes Mariana de Moraes Francisca Carapeba Caldas Clarice Falcao Luiza Cavendish Arraes Isabel Falcao Dayane Conceicao Gracy Klen Moreno Rodrigo Sampaio de Souza Juliana Carapeba Fabio Ghivelder Natalie Popovic Elizabeth Dahlberg Mosha Vaynman Hannah Gruber Danae Mcleod Rebecca Walsh Heige Kim Hannah Whitaker Marco Caruso Erika Benincasa
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Galleries: Sikkema Jenkins & Co., New York Galeria Fortes Vilaça, São Paulo Nichido Contemporary Art, Tokyo carlier | gebauer, Berlin Catherine Bastide, Brussels
Contemporary Art Museum St. Louis Board of Directors John Ferring, Chair Jan Goldstein, Vice Chair, Development Carlin Scanlan, Vice Chair, Strategic Planning Ann Sheehan Lipton, Secretary Becky Hubert, Treasurer Clarence Barksdale Donald L. Bryant Jr. Bunny Burson John Capps Barbara Cook Charles Cook David Diener Arnold Donald David Drier Shaun Hayes Meredith Holbrook James Jamieson III Nancy Kranzberg Kimberly MacLean Marylen Mann Joan Markow Linda Martinez Isabelle Montupet
Contemporary Art Museum St. Louis Staff Donna Moog Neva Moskowitz Ruthe Ponturo Jim Probstein Emily Rauh Pulitzer Ann Ruwitch Pat Schuchard Susan Sherman Michael Staenberg Donald Suggs Pat Whitaker Emeritus Eleanor Dewald Terrance Good Joan Goodson Ex OfďŹ cio Vincent C. Schoemehl Jr.
Kathryn Adamchick, Director of Education Brandon Anschultz, Exhibitions Manager Betsy Brandt, Development Associate Bruce Burton, Graphic Designer Shannon Fitzgerald, Chief Curator Jennifer Gaby, Manager of Public Relations, Marketing, and Events Erinn Gavaghan, Development Associate Andrea Green, Associate Curator Lisa Grove, Deputy Director and Director of Development Paul Ha, Director Jason Miller, Facilities Manager/ Assistant Preparator Cole Root, Special Events Coordinator Mike Schuh, Registrar Ben Shepard, Education Associate/Art Instructor Kiersten Torrez, Gift Shop Manager Sarah Ursini, Visitor Services Coordinator Rebecca Walsh, Program Assistant Mary Walters, Finance Manager
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