Anette Kuhn: “I Am a Camera”

By Margaret Failoni

Women artists have always existed but generally under the radar. Starting with the second half of the 20th century, women artists are being understood, appreciated, and widely collected, taking their proper place in the halls of contemporary art. However, up to now, artists willing to take the difficult and sometimes contradictory and dangerous path of a political stance in anti-war criticism, have been in the realm of male artists, often placing their careers in serious danger, starting with Goya’s “Disasters of War,” forcing him into exile, Picasso’s “Guernica,” Leon Gottlieb’s criticism of the Vietnam War (which led to his being ostracized and his work banned, but which now hang in major museums) to the more recent Botero “Abu Ghraib” series causing an international scandal and placing in danger his usually lucrative American collectors’ base.

Why do I bring this up? Because a talented and brave young German artist, Anette Kuhn, has been diligently denouncing ongoing war atrocities in her work, mostly dealing with the Middle East crisis, from the war in Iraq onwards. Like her predecessors, her work is brilliant and, without a doubt, will end up in major museums. Perhaps the fact that she lives and works in Europe, surrounded daily by the tragic influx of fleeing immigrants, has influenced her work. Beautifully illustrated prayer rugs with exotic Islamic art borders with war scenes in their center; illustrations of Libyan tragedies, drowning immigrants, pleas for help, ripped posters, crumbling walls—ah, but therein lies the magic! There are no holds barred and yet … the work is beautiful. Her techniques are flawless, and she somehow manages to create beauty, real beauty, while still questioning the world we live in.

Anette Kuhn lives and works in Berlin but spends a few months a year in Mexico, sharing her vacations with her husband, the brilliant Mexican sculptor Hector Velasquez.

The Galería Intersección is honored to hang such significant work on its walls.

 

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