Mehdi Chouakri

It is Monday, September 5, 2011. Dr. Burkhard Brunn, longtime companion and the estate
manager of Charlotte Posenenske (1930 – 1985), rings the door bell. He is here to install our
third Posenenske exhibition with the team. All the elements are unpacked and ready to be
placed.
We decide to start with the both "Drehflügel" (Revolving Vanes). The smaller one (100 x 100
x 100 cm) is positioned by the gallery entrance and the larger triangular one (200 x 200 x
200 cm) dominates in the background.
During the installation we talk about various news concerning Posenenske, for instance the
most recent sales going overseas, an invitation to participate in an exhibition at the Saint
Louis Art Museum this fall, the Biennials in Istanbul this year and in Sao Paulo next year.
Beginning of 2012 there will be a Posenenske exhibition at K21 in Düsseldorf, but before that
the Distanz Verlag will bring out a publication about the early pictures with a contribution by
Philipp Kaiser, soon-to-be director of the Museum Ludwig in Cologne. The Revolving Vanes
are now positioned firmly, whereas the Square Tubes are still looking to be placed. But first
things first, a lunch break...
The installation of the works is happening all simultaneously, but we get to the reliefs at the
end. We try the various possibilities of combination in terms of color and form (convex or
concave, folded or rounded). At the end we determine the placement of the famous
"manifests" of the artist: Despite the formal importance of the industrial minimalism for
Charlotte Posenenske, her thoughts on society and her fundamental questions on art play a
special role at the same time.