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Review date
Publication
Momus
Critic
Sky Gooden

When Iris Häussler finally owns her name

Work Reviewed

After twenty years of presenting her work under heteronyms (fictive identities), she’s reclaimed her authorial name in a “coming out” exhibition that’s aptly deployed in spilt drapes and erupting cloth. She is, too, working in abstraction for the first time since her start in Germany’s 1980s academe. While still tendering her signature forms and storied materials (wax cubes that house found, worn fabrics), her molten bricks now release their subjects in loosely-guided, dreamy arabesques. Häussler’s patterned installation feels important, even symbolic, here. Her fabrics stream from their cells like material confessions, sometimes climbing to the ceiling where they swing around beams like children’s limbs on stair banisters after school-day’s end. Ethereal and revealing, Häussler’s latest exhibition lends image to a vulnerable admission in the sense that it is, arguably, the first time she’s presenting work under her given name. She is showing us her hand...

Iris Häussler wishes to acknowledge the support of the following funders