Birgit Jürgenssen

English
Lauren O'Neill-Butler

Lauren O'Neill-Butler

Birgit Jürgenssen. McCAFFREY FINE ART

In: Artforum International, Sommer 2013, S. 359-360.

Austrian-born femi­nist artist Birgit Jürgenssen produced a wide variety of work – paintings, photographs, performances, sculptures, collages, drawings, and clot­hing, among other form and media – before her untimely death in 2003 at age fifty-four. Inspired by the writ­ings of Sigmund Freud, her oeuvre features clas­sically Surrea­listic juxtapo­sitions that allude to the associative operations of the unconscious, and often seems abuzz with psychosexual energy. Her work marries this interest in Freudian psychoanalysis to a political optimism – “between ‘waking and dreaming’ we can learn ‘seeing,’ and recognize ‘a tomorrow’ in the future,” she once wrote. This outlook manifested in a focus on uprooting sexism, a position that evolved partly in reaction to the milieu in her home­land when she attended art school in the 1960s, a decade marked by (mostly male) Viennese Actionism.

A recent, enligh­te­ning exhibition – her first solo show in New York since 1997 – presented thirty of Jürgenssen’s pieces. It served as an overdue corrective, but moreover shed signifi­cant light onto an aspect of her practice – works on paper – that has not been embraced as much as her photography has. A small anteroom to the main gallery featured four pieces that focused on Jürgenssen’s preoccupation with animal pelts and anthropomorphism (a utopic take on human-animal hybrids is one theme of Jürgenssen’s work). These included Ohne Titel (Selbst mit Fell­chen) (ph679) (Unti­tled [Self with Little Fur]), 1974/2011, one of three photographs in this show, and Unti­tled (z225), 1980, a drawing depicting a diary-size book spread open to what appears to be a vagina or small animal emerging from the book’s hinge. A pen on the book points to a wispy, tail-like line, leading to the adjacent Ohne Titel (2 Mäuse) (z901) (Unti­tled [2 Mice]), 1979, in which a pair of hybrid mouse-woman creatures lie on a bed. The femi­nist implication of these drawings comes not simply from the imagery, but from some­t­hing unsettling, unknowable, and unnamable, the artist’s with to leave the viewer befuddled.

Turning the corner into the larger space, one encoun­tered several finely rendered drawings: Die geschwun­gene Linie ihrer Augenbrauen (z200)  (The Curved Line of Her Eyebrow), 1977, which portrays a cropped view of a brow with oversize hairs as thick as bran­ches; Adern-Grenzli­nien im Körper (z199) (Veins-Borderlines in the Body), 1978, wherein small white sailboats glide down blue tribu­t­aries snaking through flesh; and Ober Unter der Gürtel­linie (z194) (Above Under the Belt Line), 1978. In the last, a belt merges with skin, creating an uncanny effect that rhymed with another work, Frosch­schul­ter­gürtel (Ergänzung zum menschli­chen Bewegbungs­apparat) (z719) (Frog Shoulder Belt [Addition to Human Motion Apparatus], 1974, which depicts a swimsuited woman outfitted with a prost­hetic – the chest skeleton of a human-size frog as well as one of its arms. While the woman’s actual arms hang down at her sides, sugge­sting bondage, there is also a potential for libe­ration: She looks ready to dive into the green sea behind her.

The show reso­nated with ideas that refuse to be labeled or pinned down. One’s desire to find affi­nities in her work that would underwrite compari­sons with fellow Viennese artists Maria Lassnig and VALIE EXPORT, or with other forebears in a larger constellation – from Meret Oppen­heim and Claude Cahun to Eva Hesse, Yayoi Kusama, Alina Szapocznikow, and Louise Bourgeois – therefore felt forced, and at this stage also unnecessary. The surreal and Pop femi­ninity or femi­nism embodied in Jürgenssen’s output is dissimilar from that of Lassnig and EXPORT, asking different questions about becoming, iden­tity, and selfhood. For now, Jürgenssen deserves and demands more rigorous study and exhibition. The show revealed the various ways in which her singular work refuses to neatly fit within any one movement, time period, or category. My own consciousness was raised here as I observed Jürgenssen’s expansive take on femi­nism: one that embraces Surrealism, Freudian psychoanalysis, and utopia – and one that, like her work, also rejects a single defi­nition.