Tag Archives: Bea Schlingelhoff


What does a feminist exhibition on masculinity look like? This was the question asked by curators Eva Birkenstock, Michelle Cotton, and Nikola Dietrich while organizing MASKULINITÄTEN, their three-part exhibition now open in Bonn, Cologne, and Düsseldorf.

The Bonn section—curated by Cotton, head of Artistic Programmes and Content at Mudam, Luxembourg—includes work by Lynda Benglis, Judith Bernstein, Alexandra Bircken, Patricia L. Boyd, Jana Euler, Hal FischerEunice Golden, Richard Hawkins, Jenny Holzer, Hudinilson Jr., Allison Katz, Mahmoud Khaled, Hilary Lloyd, Sarah Lucas, Robert Morris, D’Ette Nogle, Puppies Puppies (Jade Kuriki Olivo), Bea Schlingelhoff, and Anita Steckel.

The Cologne section—curated by Dietrich, director of the Kölnischer Kunstverein—includes Georgia Anderson & David Doherty & Morag Keil & Henry Stringer, Louis Backhouse, Olga Balema, Gerry Bibby, Juliette Blightman, Anders Clausen, Enrico David, Jonathas de Andrade, Jimmy DeSana, Hedi El Kholti, Hilary Lloyd, Shahryar Nashat, Carol Rama, Bea Schlingelhoff, Heji Shin, Evelyn Taocheng Wang, Carrie Mae Weems, Marianne Wex, Martin Wong, and Katharina Wulff.

The presentation in Düsseldorf—curated by Birkenstock, director of the Kunstverein for the Rheinland and Westfalen, Düsseldorf—features the work of Vito Acconci, The Agency, Keren Cytter, Vaginal Davis, Nicole Eisenman, Andrea Fraser, keyon gaskin with Samiya Bashir, sidony o’neal & Adee Roberson, Philipp GuflerAnnette Kennerley, Sister Corita Kent, Jürgen Klauke, Jutta Koether, Tetsumi Kudo, Klara LidénHenrik Olesen, D.A. Pennebaker & Chris Hegedus, Josephine Pryde, Lorenzo Sandoval, Julia Scher, Agnes Scherer, Bea Schlingelhoff, Katharina Sieverding, Nancy Spero, and Evelyn Taocheng Wang.

MASKULINITÄTEN will be accompanied by a catalogue published by Koenig Books, with contributions by—among others—CAConrad, Nelly Gawellek, Chris Kraus, Quinn Latimer, Kerstin Stakemeier, Marlene Streeruwitz, and Änne Söll.


Through November 24.

Bonner Kunstverein

Hochstadenring 22, Bonn.

Kölnischer Kunstverein

Hahnenstrasse 6, Cologne.

Kunstverein Düsseldorf

Grabbeplatz 4, Düsseldorf.

Maskulinitäten, a co-operation of the Bonner Kunstverein, Kölnischem Kunstverein, and Kunstverein für die Rheinlande und Westfalen, Düsseldorf, September 1–November 24, 2019. Cologne installation photographs by Mareike Tocha, except second from top and fourth from bottom, by Katja Illner. Images courtesy and © the artists, the institutions, and the photographers.



What moves a spirit to inhabit a building?

Join us this Sunday as Bea Schlingelhoff opens a non-denominational, secular space of worship at Corner Door*. A dysfunctional storefront church without a congregation, the room has been prepared nonetheless as a space for reflection, awaiting visitation, the back wall cut away to reveal a double altar.

To one side, a short film from 1971 by Edit DeAk, founding editor of Art-Rite Magazine, grants redemption to the fictional Frankie Teardrop from the song of the same title by the band Suicide. Teardrop, a shimmering reflection in moving water, is a tragic metaphorical figure, everywoman, one of us. On the other side of the altar is a holy toilet, a common object, the source of inexhaustible waters, but still a working toilet. If an artwork can save Frankie Teardrop, Schlingelhoff asks us to think about the relation between art and redemption.

The building has been newly renovated and repainted, ready for service. Faith-based painting, if that’s an actual thing, is not an artwork at all but, I don’t know, color on a wall. Freed, redeemed, answering to a higher power. [Source: from the invitation.]





*Corner Door is a not-for-profit, independent exhibition space run by the artist Oscar Tuazon. Located in the neighborhood of Glassel Park in northeast Los Angeles, the space is open by appointment only. If you wish to schedule a visit please email to cornerdoor@oscartuazon.com


ISSUE #9 / SUMMER 2013


The Accident of Design
Nina Yashar, Milan’s foremost furniture gallerist, in conversation with Dorothée Perret

Natural Mystic, or Rediscovering Caravaggio in LA
Photos by Daniel Trese

Color is a Powerful Tool Which Has Its Own Language
Collages by Anthony Gerace

Love and Let Love
Fashion portfolio by Cédric Rivrain

Monumental Fashion
Rick Owens, Los Angeles-to-Paris transplant, in conversation with Dorothée Perret

Venetian Surfers
Drawings by Paul P.

Touch Me, I’m Sick (excerpts from a novel) by JB Hanak

Onaboat 2 by Bea Schlingelhoff

Chanel Spring 2013 Ad Campaign Remix by Pierre-François Letué


Bea Schlingelhoff
The Left Is Too Right


at New Jerseyy
April 29 to May 19, 2012



I don’t know how much a person needs to own to live. No idea. I don’t even know if necessity is the weapon against consumerism and exploitative mechanisms.


Recently, I saw a series of photos from 1974 in a german magazine, that showed all pieces of clothing, that a woman owned, at the time the photos were taken. I have no clue if this woman’s amount of clothing represents a prestigiuos average for 1974 or not. Altogether she owned 72 pieces, including underpants and shoes.



Probably this work was just an attempt to include everyday objects into the production of history, maybe it was meant to criticize (female?) consumerism in 1974. The amount of clothing objects to me seem little on the photos, but large as a number. I didn’t count how many I own, but my guess is, that it is more. Probably significantly more. Quantity. I am not guilt-tripping on quantity but I also have a hard time finding an argument for it.



Pleasure maybe. The romanticization of slavery, reproducing church and family in a purchasable format, horror not pleasure after all, lots of it.



Branding maybe. Free-range grazing, free-range shopping. Maybe a fantasy about how commodities are livestock, that we own, shepherds of our consumer goods, building a stage for our product-life, where knowledge is accredited to the subject of desire. The brand accredits knowledge to us and we accredit it to the brand. A grid. The Left looks too Right. A collaboration with the enemy in times of warfare.



Warfare between the (by now qualitatively emancipated) products that can only be sold and bought through a symbolic or imaginative surplus. A surplus lacking any gothic presence of an uncontrollable sphere. State Property, a subsidary of Rocawear.

Branding re/produces the values of ALL state and market institutions ENTIRELY, that claim cultural responsibility and distribution. The über-teacher. The ultimate didactic experience: my sneaker is my church, my sweater my police, my sunglasses my teacher, my burger my estate, my drink my emotion. My sneaker is your church, my sweater your police, my drink your emotion-and so on and so forth. Don’t chose. We decide by lot what brand to buy. Choice is predictable. The collaborator. ChoiceXCapital.