黑料不打烊

In her exhibition Tenibac at the Nagel Draxler Kabinett, Mirjam Thomann refers to the side room as a place that in line with its spatial situation and social function asserts marginality, intimacy, and clandestine retreat. But with rotatable corner pieces, folding chairs, text fragments read backwards, and negative prints made of ceramic on site, Tenibac is also a stage and an imaginary location that emerges through reflections and the view through the window.

It appears as if Thomann were less valorizing peripheral states and shoving them from the background to the foreground than 鈥渟eeking to make comprehensible how these border areas and the characteristic dualisms of inside/outside, private/public, side issue/main issue, are construed. She does so [鈥�] with allegorical manoeuvers that may look like quasi-scenographic proposals or experimentations with the sense of space and the willingness to participate, although they primarily revolve around a contradiction, if not a dilemma, that has to do with the difficult and at once privileging fact of being an artist.鈥�