BETTINA CARL
HOME >> english          
 
 
EXHIBITION VIEWS              
 
2015, The Brno House of Arts, Brno, CZ   2015, Kaskadenkondensator Basel   2014, Lucie Fontaine, Milano   2014, Galerie im GSH, Wettingen   2014, Helmhaus Zurich    
 
2014, Galerie DuflonRacz, Berne   2013, Remise, Zurich   2013, HAW Projects, Turin, Italy   2012, Kabinett visarte Zurich   2012, Kunstraum Aarau   2011, Art Brussels    
 
2011, Schau Ort Galerie Christiane Büntgen Zurich   2011, Futura Center for Contemporary Art Karlin Studios Prague   2010, Kunstraum Kreuzberg Bethanien Berlin    
 
2009, Kunstraum Winterthur   2009, Galerie oqbo Berlin   2008, Vegas Gallery London   2008, ArtAgreement Zurich   2008, Villa am Aabach Uster/Zurich   2007, Space Invasion Vienna    
 
2007, White Space Zurich   2006, Immanence Paris   2006, PAKT Amsterdam   2005, CAPRI Berlin   2004, Kunstbank Berlin   2003, loop Heeresbaeckerei Berlin   2001, Fernsehturm Berlin  

 

 
 
FERNSEHTURM    group exhibition at TV-Tower Berlin Alexanderplatz, February 2001
 

Bettina Carl: PATH. installation, 1999-2001

acrylic paint on mdf-board, based on: "La Mort de Marat" by Jaques-Louis David, 1793

styrofoam, pins, lamps. Size of mdf-board ca. 190 x 90 x 60 cm, total size variable, here ca. 400 x 1200 cm
 


text on the larger cloud:  Marat Marat where is our path or is it invisible from your bath,  quoted from the English version of

Peter Weiss, "The persecution and the murder of Jean Paul Marat, staged by the theatre group of Charenton hospital, instructed by Monsieur de Sade" (1964)
 
 
 
 
please scroll down  
 

PATH.

History maybe regarded as a collective formation of knowledge. Throughout this process, images of heroes and

leaders serve as our links to history - regardless whether they look down on us from their pedestals, or whether

they have been turned over and lie on the ground, smashed to pieces.


David's "La Mort de Marat" is an odd example of a political hero depicted: The dead Marat strongly recalls the generic

rendition of the entombment of Christ, and thus the ultimate image of martyrdom: a saviour devoid of any physical

power. Moreover, David even decided to accentuate the rather humiliating circumstances of the revolutionary's death:

The fervent jacobin was actually soaking in a medicinal bath when he received his killer, young Charlotte Corday.


Unlike Jaques Louis David's painting, PATH. invites the viewer to enter the scene. One may pose as an eye-witness

here, however this position won't offer any insights of the site of the crime. On the larger cloud above, in red light,

a desperate call for guidance is to be read: Marat Marat where is our path or is it invisible from your bath.

This plea is recurring in Peter Weiss' play; an answer, however, is not being offered.