Marion Baruch (Kunstmuseum Luzern)
Fanni Fetzer, Noah Stolz (Ed)
Kunstmuseum Luzern & Mousse Publishing
First comprehensive monograph.
This richly illustrated edition presents a broad span of Baruch’s oeuvre, from the 1960s to her recent textile production. It includes three essays—by Fanni Fetzer, Martin Hubert, and Noah Stolz—as well as polyphonic focus texts by curators, friends, and art historians from the artist’s circle, all providing compelling insights into her works and methods.
The conflicts of the 20th century are reflected in the long life of Marion Baruch (born 1929 in Timișoara, Romania): fascism, capitalism, communism, feminism, pacifism, migration, classes, nations, religions, linguistic communities, political ideologies. Marion Baruch concerns herself with internal worlds and external spaces. Consequently this artist’s work revolves around the theme of emptiness; she works with gaps, through views and transparency. She speaks of the “void”, meaning not a spiritual nothingness but rather a free space, in the literal sense, to be understood as an invitation to the viewer.
“Marion Baruch’s work circles emptiness. Viewed in terms of form, the artist prefers working with gaps, revision, transparency, omissions. She herself speaks of ‘void,’ but doesn’t mean the spiritual nothingness of James Turrell, Lucio Fontana, or others. This emptiness is rather free space in a literal sense, which is to be understood as an invitation to the public to enter this space.”—Fanni Fetter
Published on the occasion of Marion Baruch’s first retrospective, innenausseninnen, at Kunstmuseum Luzern; MAGASIN des horizons, Grenoble; les Abattoirs, Toulouse; Muzeul de Arta, Timişoara; and Museo MA*GA, Gallarate.