Anna Kipke

@anna_chanx

Art historian | Collaborative Research Center 1512 @interveningarts | @leuphana @fu_berlin
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Weeks posts
Interview with @rinusvandevelde for @kunstforum_international in our current issue on autofiction We discuss his approach to the self and fictionalized art history, what Amy Sillman’s metaphor of the eagle (painting) versus the beaver (drawing) offers, and how his practice moves between both genres. 🦫🦫🦫🦫🦅🦅🦅🦅
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24 days ago
Interview with @zuza_golinska for @kunstforum_international in our current issue on autofiction We discuss how writing becomes a tool for positioning the self in sculpture, her latest performance @msnwarszawa , and her take on abstraction. 🫦🫦🫦
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1 month ago
My text for @kunstforum_international in our current issue on autofiction Writing about the artistic strategies of @cathiepilkington ’s sculptural interventions into the display and the collection of the @freudmuseum , and how the fictionalized biography of Paula Fichtl, Freud‘s housekeeper, changes the perspective on the history of psychoanalysis — thinking about how ‚Ways of Seeing‘ @muzeumsztuki brilliantly situates the obsession with the self and Individualism as a culturally situated phenomenon by pointing to seeing as the mobilizing force. But read for yourself!
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The KUNSTFORUM issue •Das inszenierte Selbst. Autofiktion in der Gegenwartskunst• examines a phenomenon that has garnered significant attention in the arts in recent years. Established as a literary and performative practice since the 1970s, autofiction was linked to the emancipatory potential of highlighting social structures. Today, the ambivalences of this practice are increasingly coming to the fore as evidenced by the fetishization of subjectivity and the tension between self-staging and mythologization, fiction and reality.  What is the current state of autofiction’s emancipatory potential? And when does the artistic engagement with the self tip over into self-mythologization? In this issue, co-edited by @rosawindt and me, we explore these questions.  Rosa Windt discusses the use of the body as a medium for artistic self-negotiation, mediating intimacy, the public sphere, and social critique.  @siele_witch writes about the figurative paintings of @agata_slowak , addressing the power dynamics of vulnerability and intrusion. Kristian Vistrup Madsen reflects on Kaare Ruud’s exhibition at @kunstsenter .  Isabel Mehl reconstructs the methods of self-positioning in the interview Don’t Cry: Work (1973) between Lynne Tillman and Meret Oppenheim. @lisaalice_klosterkoetter explores the intervening potential of art practices in public spaces. In my contribution, I focus on current strategies of autofiction in @cathiepilkington ’s exhibition Housekeeper at @freudmuseum and in Ways of Seeing at @muzeumsztuki in Łódź. ❤️‍🔥 Thank you to our dear authors, who contributed brilliant texts and illuminated new aspects of the phenomenon. ❤️‍🔥Thank you to Matthew Barney, @zuza_golinska , @carina.brandes , and @rinusvandevelde for discussing your artistic approaches to autofiction and the self in our interviews. ❤️‍🔥 Thank you to my dear co-editor, @rosawindt , for the trusting collaboration. ❤️‍🔥Thank you to @annkatrin_guenzel and the editorial team of @kunstforum_international for the opportunity and guidance!  Available in German. Get your copy! 🫦🫦🫦 @pacecarforthehubrispill @tillwhentillman
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1 month ago
„How do fragile moments of rupture – whether bodily, material, or artistic – generate new forms of movement, representation, and continuity?“ Happy to share my essay about @agnieszkamastalerz ’s latest work. It’s published on @akademiesolitude ’s blog. I saw her film »Mould« (2025) at the @instytutfotografiifort during the @warsawgalleryweekend , and I was intrigued to learn more about the work and life of the Polish dancer and sculptress Danuta Kwapiszewska (1922–1999), whose dance figures were crucial to the development of the choreography. Mastalerz’s personal encounter with the sculptural dance figures in the @chopinmuseum archive in Warsaw marked the starting point for developing the piece. Very glad I could dive into all of this, entering the work and life of a historical figure like Kwapiszewska through the contemporary piece, weaving it together with autobiographical details they both share.•• /de/moving-bodies-turning-sculptures-moving-on-mould-2025-by-agnieszka-mastalerz/
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1 month ago
Views from Łódź •• Obsessing over all kinds of threads in motion, inscriptions on working tables, and mandatory Rosół. @centralnemuzeumwlokiennictwa
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2 months ago
What if art is like a fabric, like precious lace or rough cloth? When exhibition-making is like stitching together images, it constellates different artistic works as layers of time and memory. At the core of this endeavour, theories of seeing could be the foundation. Exhibition-making becomes this process, where you can see in the exhibition’s presentation how the curators turn the fabric inside out to see if the seam is coherent. ‚Ways of Seeing‘ — the new presentation of the collection of the @muzeumsztuki in Łódź was exactly that for me. It maps and navigates the collections‘ history in new ways. But moreover, it turns the history of modern art inside out, not shying away from current geopolitical dynamics, but addressing them with confidence and courage. Thank you for inviting me and for the opportunity to see it myself. Excited to share my article on it soon. •• Curatorial team: Jakub Gawkowski, Daniel Muzyczuk, Paweł Polit, Katarzyna Różniak-Szabelska, Franciszek Smoręda
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2 months ago
Wrapping up winter.
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2 months ago
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3 months ago
🧚🏼 📸 11/30/2024
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3 months ago
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5 months ago
Late September Portrait of Alina Szapocznikow by Wojciech Fangor in a brilliantly curated show by Piotr Policht @lil.pilicht for @olszewski_gallery , artist's signature, work by Magdalena Abakanowicz @bwawarszawa , observing the gatherings made by @bartlomiej.flis , performance by @ketagavasheli @wschodgallery , vulnerable surfaces in the work of Roman Stańczak @stereo_warsaw , @aleksandrawaliszewska allover @dawidradziszewskigallery , just a glimpse of ‚Arbeit‘ with works by Mirosław Bałka – curated by Anda Rottenberg, Szapocznikow’s Woman with child captured by @antonina.gugala presented @fundacjaalina , The End of Warsaw Gallery Weekend •
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5 months ago