have little in common. Though both are boundary-breaking artists in their own right, they are a generation apart, hail from opposite corners of the globe, and work in the historically rival mediums of photography and painting.
Hanging Sherman and Lassnig’s work side-by-side for the very first time, the exhibition reveals the vital role that both artists have played in discourse around gender and identity in 20th and 21st century art. The show explores female identity through themes both Sherman and Lassnig have both grappled with in their careers: the mother, the body, the clown, and the couple.
“From today’s point of view, this was a significant encounter,” continues Pakesch. “It led to my interest in the exhibition in St Moritz, and I began thinking about how both artists are major figures of art in the last few decades, and how both contributed largely to the complex questions of female identity and the human self in a more general way.”
Maria Lassnig Traum vom Idealbusen / Busenwunsch / Busenillusion 1996-1997. © Maria Lassnig Foundation Courtesy the Foundation and HauserThese thematic parallels are felt strongly in the show. As are, surprisingly – given the contrasting mediums of canvas and camera – a series of striking visual similarities. In the mother section, both present an unsettling image of motherhood which riffs on historical archetypes.
In another section, both artists use wry humour to comment on the oversexualised female body. Lassnig’s busty self-portrait reveals an inner fantasy formed by external beauty standards, while Sherman’sportraits deals with the fetishised body within a cultural context. Perhaps most striking of all are the visual similarities in two works at the shows conclusion, where Lassnig’s writhing, fragmentedCindy Sherman, Untitled 1999.
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