|SELECTED EXHIBITION VIEWS|
|2017, Haus am Lützowplatz Berlin 2017, Art on Paper fair, Brussels 2017, Helmhaus, Zurich 2017, DuflonRacz, Bern 2016, Palais für aktuelle Kunst Glückstadt|
|2016, Galerie DuflonRacz, Bern 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, Bern 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
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|
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.