Gallery Werkstatt, Bremen: 28.10. - 24.11.1967

Solo exhibition with paintings, objects and serigraphy

Ulrike Ottinger produced her first material collages as early as 1958. Alongside etchings, serigraphs and paintings, the painted objects or tableaux-objets soon also became part of her artistic repertoire in 1960s Paris. She used objects like mannequins or plaster busts as her canvases, painting them in a visual language reminiscent of Pop Art. She presented these now lost objects at Bremen´s Galerie Werkstatt together with her early pictorial work, "which included the triptych La vie quotidienne, a free-standing wooden panel with folding side wings, and the serial image Bubble Gum, "a successful allegory of an anti-artistic viewpoint that relied on the fleeting moment." * Contrary to the museum conventions of the day, Ottinger´s early exhibitions integrated books and music, which provided an insight into her sources of inspiration as well as embedding the individual works within a broader context.

*Hanne Bergius, "Ulrike Ottingers Peintrue Nouvelle. Entzifferung von Alltagsmythen", in: Ulrike Ottinger. Paris Pop, hg. v. / ed. by Marius Babias, n.b.k. Ausstellungen, Bd. / Vol. 11 Köln / Cologne: Verlag der Buchhandlung Walther König 2011, S. 90 / p. 111.



La vie quotidienne (1965/1966), Untitled (1965/1966), Pentecôte (1966), Bubble Gum (1966), Untitled (1966), Untitled (1966), Mannequin über Manhatten schwebend (1966), Modèle cybernetique (1966/1967) and serigraphies.


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