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A title turned in on itself\, beginning and ending with “Gra ndville”. “The Decision at Grandville” could be the title of a chapter of a picaresque novel\, a military history\, or a Hercule Poirot mystery. Forma lly\, the title is a loop\, like Andy Warhol’s From A to B and Back Again. A-B-B-A.

From 1993 to 2011 and back again. In line with her lo ngstanding collaboration with the musician Moritz von Oswald\, Cosima von B onin has conceived this exhibition as a quodlibet\, looping her earliest wo rk through her most recent.

The early pieces on view include a prison window\, made from cardboard and masking tape\, shown at American Fine Arts in 1993. During the exhibition\, von Bonin positioned parakeets i n birdcages on top of the works\, resulting in an irregular spray of bird d roppings still visible across their surface. Other early works – such as th e bikini draped over a door at the “Kunstverein Kippenberger” at Fridericia num Kassel in 1994\, and a grid of men’s handkerchiefs stitched together – are recreated entirely in white.

A group of furniture legs\, without their tops\, from 1992\, are presented on white pedestals\, like tr oops gathered for an offensive maneuver. A plywood truck and its cardboard opponent\, first shown in “The Fatigue Empire“ at Kunsthaus Bregenz in 2010 \, have been stripped of their loads\, possibly to be replaced with somethi ng else\, or with nothing.

Inverting the uncanny animism of J. J. Grandville’s satirical engravings (in\, say\, Un autre monde\, from 184 4)\, von Bonin has presented her animal-avatars\, such as the red hermit cr ab slumped over an ersatz mid-century biomorphic table\, as limp and exhaus ted since the exhibition in Bregenz last year. Here\, this draining effect is extended to color\, in a new sculpture of colorless soft creatures heape d on a white table top. White\, unusually\, dominates the exhibition.

While living in Düsseldorf and preparing his “Section Cinéma”\, Mar cel Broodthaers once referred to himself the “vampire of Düsseldorf”. Like Broodthaers in his self-consciously late work\, von Bonin has moved from va mpirizing others to an auto-vampirization. A vampire of herself as much as a vampire of Cologne\, von Bonin operates within an auto-vampiric loop\, a. k.a. the Moebius strip of Cologne 1993-Berlin 2011\, displayed in a gallery whose rooms are arranged in the form of a loop\, with looped soundtracks a ttached to each work.

Out of her undead network of references and social relations\, von Bonin seems to have created a Document of the De ad (to quote the title of the documentary video on zombie filmmaker George Romero included in the exhibition).

Michael Sanchez

DTEND:20111126 DTSTAMP:20140823T135510 DTSTART:20110928 GEO:52.50071;13.32665 LOCATION:Galerie Buchholz\,Fasanenstraße 30 \n Berlin\, 10719 SEQUENCE:0 SUMMARY: “Grandville and the Decision at Grandville“\, Cosima von Bonin UID:181981 END:VEVENT BEGIN:VEVENT DTEND:20110928T210000 DTSTAMP:20140823T135510 DTSTART:20110928T190000 GEO:52.50071;13.32665 LOCATION:Galerie Buchholz\,Fasanenstraße 30 \n Berlin\, 10719 SEQUENCE:0 SUMMARY: “Grandville and the Decision at Grandville“\, Cosima von Bonin UID:181982 END:VEVENT END:VCALENDAR