Galerie Hubert Winter

Birgit Jürgenssen
20 Drawings from 1973 - 1978
11. January – 1. March 2008
Im Gewirr der verstreuten Gerüche warte ich, ahne den unvermeidlichen Augenblick voraus, in dem der Hufschlag ins Gesicht jede frei dastehende Frau umwerfen wird, jedes Leben, das sich in die Sonne hinauswagt, um zu tanzen! Ja, trotz des Lärms der Meinen um mich herum höre ich ihn schon, noch ehe er aufsteigt und den harten Himmel durchstößt, den Schrei des Todes in der Fantasia.
Die letzten Zeilen in: Assia Djebar, Fantasia. Dt.v.I.M.Arlt. Zürich, Unionsvlg, 1990.

The american art historian Abigail Solomon-Godeau wrote in her essay "The fine art of feminism. This essay is dedicated to the memory of Marcia Tucker.", published in the catalogue from the Sammlung Verbund (Ostifildern, Hatje Cantz, 2007)

"But while the insights of feminist criticism (and the practical gains of the women's movement) have become assimilated generally into progressive thought (while subject to backlash and repudiation elsewhere), with some notable exceptions the feminist-influenced art created in tandem with appearance of feminist theory has not achieved comparable acceptance or integration.

... It hardly needs pointing out that even, if not especially in the modern period, dozens if not hundreds of women artists have been rendered invisible, vanished from the radar. We know this, of course, only as we rediscover them, which explains why then their art does achieve critical and art historical visibility (sometimes long after an earlier successful debut), it comes always as something of a surprise. Louise Bourgeois, Lee Bontecou, Yayoi Kusama, Lee Lozano, Birgit Jürgenssen, Yoko Ono, Ana Mendieta, Maria, Lassnig, Francesca Woodman - living and dead, in all these instances, retrospectives, large-scale exhibitions, substantive art criticism and so forth, came late in life, posthumously, or not at all. But as Griselda Pollock has long emphasized, this only reflects a mode of willed ignorance, although one might hazard that that the institutional forgetting of women artists will ultimately be countered by the even more voracious requirements of a global art market."

Photographs by Birgit Jürgenssen were shown in 2007 in the exhibitions Role Play: Feminist Art Revisited 1960 - 1980, Galerie Lelong and in Conceptual Photography 1964 - 1989, Zwirner&Wirth.

  • Review:, 21.2.08 (PDF)
  • Review: DER STANDARD, 10.01.08 (JPG)