Relax, it's only a ghost

June 2, 2006- July 15, 2006

Cosima von Bonin


Cosima von Bonin
GAUCHE CAVIAR (2003)
Friedrich Petzel Gallery is pleased to announce RELAX, IT'S ONLY A GHOST, a solo exhibition of new work by Cologne-based artist Cosima von Bonin. This is her fourth show in New York.

After a one year sabbatical, Cosima von Bonin returns; the thing is, she is only a ghost. Please relax. She is just waving at us from the other bank, from a pirate island in the Caribbean. She is waving at us poor landlubbers, who are stranded forever. She is now in the wonderful realm beyond capitulation, beyond the fear of failing. Only the cute Rorschach tests hint at the sounding out of the soul. Long since all turned into emblems, and reaching five fathoms deep under the surface of the sea, they are leading their own lives - marine creatures within the octopus's garden. Here there exists no triumph. Here everything is just spooked. The dimensions of paintings, arrangements, installations - the excessive impetus by which all of this is set in motion, the fuel which drives the engine, the unrestrained power that urges the things along - it is never ever an expression of the "great gesture", of the will, of the intention.

All this always emerges at the threshold of just doing nothing, at the threshold of deception. For Cosima von Bonin knows exactly that it is only what we acquire by devious means that will make us happy forever. So the mise-en-scene of Cosima von Bonin's exhibitions resembles the ghostly conspiracies of the materials she uses. It could maybe happen one day that all the things she has made use of over the years have it up to here with being under her yoke and - in an underhand fashion that is part of their nature - will revolt against Cosima von Bonin. Whatever - she who anyway is no more than a ghost can know no fear of a possible revenge.

Dirk von Lowtzow

Nach einem Jahr Sabbat kehrt Cosima von Bonin nun zurueck, allein, sie ist nur ein Geist. Entspannen Sie sich, bitte. Sie winkt nur vom anderen Ufer herueber, von der Pirateninsel in der Karibik zu uns armen, fuer immer gestrandeten Landratten. Sie befindet sich nun in dem wunderbaren Reich jenseits der Kapitulation, jenseits der Angst vor dem Scheitern. Nur die niedlichen Rorschach Tests weisen noch auf das Ausloten der Seele hin. Laengst sind sie alle zu Emblemen geworden, die fuenf Faden tief unter der Wasseroberflaeche, wie Meeresgetier im Garten eines Kraken, ihr Eigenleben fuehren. Hier wird eben nicht triumphiert. Hier wird nur gespukt. Die Dimensionen von Bildern, Arrangements, Installationen, der exzessive Impuls durch den all dies in Bewegung gesetzt wird, der Treibstoff mit dem die Maschine laeuft, die unbaendige Wucht mit der die Dinge ins Rollen gebracht werden, sie ist niemals Ausdruck der ãgrossen GesteÒ, des Willens, der Intention.

All dies entsteht stets an der Schwelle zum Nichtstun, zum Betrug. Denn Cosima von Bonin weiss es ganz genau: Nur was wir uns erschleichen, laesst uns fuer immer gluecklich sein.

So gleicht das mise en scene von Cosima von Bonins Ausstellungen geisterhaften Verschwoerungen der von ihr verwandten Materialien.

Vielleicht koennte es eines Tages passieren, dass all die von ihr ueber Jahre angeeigneten Dinge ploetzlich die Nase voll haben von ihrem Joch und sich, hinterhaeltig, wie sie eben sind, gegen Cosima von Bonin aufbaeumen.

Allerdings, wer ohnehin nur ein Geist ist, kennt keine Furcht vor der moeglichen Rache.

Dirk von Lowtzow

Von Bonin's work has been recently exhibited at the Koelnischer Kunstverein, the Kunstverein Hamburg, the ICA in Philadelphia and the Vienna Secession. The Museum of Contemporary Art in Los Angeles will dedicate a solo show to her in July 2007.

Reviews of Relax, it's only a ghost

New York Times
June 30, 2006
Ken Johnson"For her fourth show in the United States since 1991, the well-connected German conceptualist Cosima von Bonin has crowded into the gallery an assortment of bulky two- and three-dimensional objects, most of which resemble contemporary designer products. The effect is puzzling at first, but then a familiar critique of consumerism and mass entertainment becomes glaringly clear...."
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