Miriam Cahn

Miriam Cahn (born July 21, 1949 in Basel)[1] is a Swiss painter.

Miriam Cahn, untitled 10.05.2012, 2012, pastel and charcoal on paper, 39 x 23 cm. Museum of Modern Art in Warsaw Collection

Biography

Cahn studied at Schule für Gestaltung Basel in Basle from 1968 to 1975.[2]

Cahn's work

Cahn's paintings and drawings incorporate feminism themes and female rituals; featuring "violent and shocking representations of sexual organs".[3] They are often created using unorthodox methods.[4] Cahn's first exhibition was Being a Women in My Public Role in 1979.[2] Cahn's first exhibition in the United States was at the Elizabeth Dee Gallery, New York City, in 2011.[4] Cahn's work has been said to show influence by the Neo-Expressionism movement.[5]

Miriam Cahn, Small family, 2012, oil on canvas, 200 × 270 cm. Museum of Modern Art in Warsaw Collection.

At first glance, most of the motifs used by Miriam Cahn appear unspectacular,: people, buildings, animals, plants, some in bright or even garish colours, some in gloomy shades of black and grey. Despite such conservative motifs, Cahn is known as a feminist who likes a fight, who often quotes the line ‘your body is a battleground’ from Barbara Kruger’s Untitled (Your Body is a Battleground) (1989) and who withdrew her works from Documenta 7 in 1982 because she felt she had been unfairly treated by the artistic director Rudi Fuchs. The artist deconstructs her conservative motifs from the inside out. The dreamy-looking watercolours from a 1985–91 series turn out to be studies of atomic explosions (for example, A- + H-tests, 1987). Here, the horror – whose actual violence simply cannot be portrayed – is depicted as a child’s rainbow dress, which only amplifies its awe-inspiring quality. Some of the more recent large-format paintings show naked people in garish, pulsating colours, albeit devoid of any pornographic reference (e.g. o.t., untitled, 2012), as well as country landscapes and abstract geometric shapes (e.g. malfreude, joy in painting, or geträumt, dreamt of, 2012). The installation of these paintings was broken up by small drawings of tanks, clenched fists and rolling pins with sharp blades (e.g. planen, 2012). It’s as if violence were always already lurking in the cracks and joints between supposedly pacified zones. Cahn’s figures are often surrounded by a shadowy, atmospheric band of colour, a diffuse aura that mediates between the motifs and the colourful non-figurative backgrounds. Such aura outlines are familiar from works as diverse as Wassily Kandinsky’s Dame in Moscow (1912) and Mel Ramos’s Nudes (since the 1960s). Kandinsky used such outlines to symbolize the astral body of theosophy, and Ramos describes his pin-ups as fantasy beings, but Cahn’s glowing body haloes have a different meaning. Traditionally, the hard, ‘masculine’ outline served to set figures apart from their surroundings and to establish them as self-identical individuals. Cahn, by contrast, creates transitions rather than borders; diffusion rather than difference. This approach applies to the sex scenes in the drawings in the series das klassische lieben (Classical Loving, 1997–2001). Hung in the basement, they show fragmented bodies in a process of dissolution, wedged together, merging into one another, pulsing with an energy between passion and violence. It is as if Cahn deliberately placed these works here, in the guts of the Kunstverein, while upstairs, in the colourful paintings, a deceptive calm prevails. [6]

Collections

Cahn’s works can be found in numerous art collections around the world, among others at MoMA in New York, at the Tate Modern in London, at the Reina Sofía Museum in Madrid, as well as at the Museum of Modern Art in Warsaw.

Exhibitions

Individual Exhibitions
  • Sifang Art Museum, Nanjing, 2019
  • MIRIAM CAHN: I AS HUMAN, Museum of Modern Art in Warsaw, 2019
  • MIRIAM CAHN: I AS HUMAN, Haus der Kunst, Munich, 2019
  • everything is equally important, Museo Nacional Centro de Arte Reina Sofia, Madrid, 2019
  • DAS GENAUE HINSCHAUEN, Kunsthaus Bregenz, 2019
  • ICH ALS MENSCH, Kunstmuseum Bern, 2019
  • devoir-aimer, Galerie Jocelyn Wolff, Paris, 2017
  • mare nostrum, Meyer Riegger, Berlin, 2016
  • Lachen bei gefahr, Badischer Kunstverein, Karlsruhe, 2012
  • Sarajevo, Stampa, Basel, 1993
  • Stampa, Basel, 1994
  • Nachkrieg-Vorkrieg (Was Fehlt), Stampe, Basel, 1992
  • Museum für Moderne Kunst, Frankfurt am Main, 1992, 1995
  • Verwandschaften, Galerie Espace, Amsterdam, 1991
  • Verwandschaften, Stampa, Basel, 1990
  • Verwandschaften, Art Frankfurt, 1990
  • Verwandschaften, Cornerhouse, Manchester, 1990
  • Elisabeth Kaufmann, Zurich, 1988
  • Van de Loo, Munich, 1988
  • Lesen in Staub, Gemeentemuseum, Arnhem, 1988
  • Lesen in Staub, Haus am Waldsee, Berlin, 1988
  • Lesen in Staub/Weibliche Monate, Kunstverein Hannover, 1988
  • Musée Rath, Geneva, 1988
  • Lesen in Staub/Strategische Orte, Galerie Schmela, Düsseldorf, 1987
  • Centre Culturel Suisse, Paris, 1987
  • Galerie Vorsetzen, Hamberg, 1987
  • Stampa, Basel, 1987
  • Strategische Orte, DAAD, Berlin, 1986
  • Strategische Orte, Stampa, Basel, 1986
  • Strategische Orte, Kunsthalle Baden-Baden, and Kunstmuseum, Bonn, 1985
  • Strategische Orte, Elisabeth Kaufmann, Zurich, 1985
  • Das Klassische Lieben, Musée la Chaux-de-Fonds, 1984
  • Das Klassische Lieben, Galerie Grita Insam, Vienna, 1984
  • Das Klassische Lieben, Stampa, Basel, 1984
  • Das Klassische Lieben, Kunsthalle Basel, 1983
  • Wach Raum 1, Konrad Fischer, Zurich, 1982
  • Stampa, Basel, 1977, 1979, 1981

Selected Group Exhibitions
  • Documenta 14, Athens, Greece and Kassel, Germany, 2017[7]
  • 21st Sydney Biennal, 2018
  • Prière de toucher – Le tactile dans l‘art, Museum Tinguely, Basel, 2016
  • Module mai, Palais de Tokyo, Paris, 2010
  • Sammlung Van de Loo, Neue National galerie Berlin, 2004
  • Where Is Abel, Your Brother?, Zachęta – National Gallery of Art, Warsaw,[8] 1995
  • From Beyond the Pale, Irish Museum of Modern Art, Dublin, 1994
  • Centre d'Art Contemporian, Geneva, 1994
  • Zur Sache Selbst, Künstlerinnen des 20. Jahrhunderts Museum, Wiesbaden, 1990
  • Triennal de Dibuix, Fundació Joan Miró, Barcelona, 1989
  • Sydney Biennal, 1986
  • Crosscurrents in Swiss Art, Serpentine Gallery, London, 1984
  • Documenta, Kassel, Germany, 1982
  • Feministische Kunst International, Frauenzimmer, Basel, 1979

Reception

Jörg Scheller describes Cahn as a "feminist who likes to fight."[9] Schorgg comments that Cahn's pieces have a tone he describes as a "deceptive calm",[9] though Export et al. note the "wild sketching" as a key element to the tension between cultural influences in her work.[10]

In 1998 Cahn won the Käthe Kollwitz Prize awarded by the Academy of Arts, Berlin.

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References
  1. Foster, Alicia (2004). Tate women artists. London: Tate. pp. 186–187. ISBN 978-1-85437-311-3.
  2. "Cahn, Miriam". Oxford Art Online. Retrieved April 3, 2015.
  3. Cunningham, Peter (April 1980). "Feministische Kunst Internationaal: A Review". Oxford Art Journal. JSTOR 1360183.
  4. Priscilla Frank (September 3, 2012) "Swiss Painter Miriam Cahn On Her Upcoming Exhibition 'Lachen Bei Gefahr' At Badischer Kunstverein, Germany", Huffington Post (Arts & Culture). Retrieved 2013-06-18.
  5. "Review: Miriam Cahn | Art | reviews, guides, things to do, film – Time Out New York". Time Out New York. Retrieved 2016-03-05.
  6. https://frieze.com/article/miriam-cahn
  7. "Miriam Cahn". www.documenta14.de. Retrieved 2019-03-23.
  8. Hillstrom, Laurie Collier; Hillstrom, Kevin (1999-01-01). Contemporary women artists. Detroit: St. James Press. ISBN 1-55862-372-8.
  9. "Miriam Cahn | Reviews | Archive | frieze d/e". frieze-magazin.de. Retrieved 2015-04-03.
  10. Export, Valie; Eifler, Margaret; Sager, Kurt (1988). "The Real and Its Double: The Body". Discourse. 11 (1): 15. JSTOR 41389105.

Further reading
  • Schmetterling, Astrid. "Cahn, Miriam." In Grove Art Online. Oxford Art Online, (accessed February 18, 2012; subscription required).
  • ed. Marta Dziewańska. "MIRIAM CAHN: I AS HUMAN". Museum of Modern Art in Warsaw (2019).
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