Included in Texte Zur Kunst, #128, (bilingual) Berlin 2022:  Art history Beate Söntgen’s essay “Clio also writes Poetry…”  addresses the silence of the archives, alternative art-history writing, contextualization of colonial art-historic practices and experimental writings of art criticism by describing literary scholar Saidiya Hartman's and Iris Haeusller's artistic practice of creating and interweaving fictional art into art-history and also reviews her recent show at the Georg Kolbe Museum, Berlin (2022) pages 30-39.

"Rethinking visual and material histories of settler colonialism, enslavement, and racialized disapora in the contested white settler state of Canada".

In this publication, fifteen scholars of art and culture address the visual and material culture of settler colonialism, enslavement, and racialized diasporas in the contested white settler state of Canada. In this context, scholar Mark Cheetham examines Häussler’s work “he Named Her Amber”.

Iris Häussler meets Benjamine Kolbe
Ed.: Julia Wallner; Authors: Sintje Guericke, Marlene Gunia, Georgiana Uhlyarik, Julia Wallner (dt./engl.)

Read more and see examples of publication here.

"I act loyal to the truth" – The artist Iris Häussler comes into conversation with the two curators Dr. Sintje Guericke and Dr. Marlene Gunia in the Skulpturenhof about her installation "If" and the genesis of this work: How do you create and tell a memory image in art? Together they will present the accompanying catalog of the exhibition "No One Knows Me - Iris Häussler meets Benjamine Kolbe", which is now newly published. Afterwards, Iris Häussler and Georgina Uhlyarik, co-author of the catalog, will lead a guided tour of the exhibition in English.

”GIRLS,GIRLS,GIRLS” curated by Simone Rocha 

Showing work from her series Wax Inclusions: Clothing

Lismore Castle Arts
02 April, 2022 - 30 October, 2022
Lismore Castle Arts, Co. Waterford
Ireland

Artist Iris Häussler encounters the historical figure Benjamine Kolbe, the sculptor's wife, in the exhibition „Kein Mensch kennt mich“ (Nobody knows me). By juxtaposing Häussler's work with selected archival material from the Georg Kolbe Museum, curators Sintje Guericke and Marlene Scholz address the nature of remembering and preserving human biographies. At the same time, they point towards the limits and possibilities of different concepts of femininity through the ages.

Join us for a stimulating series of virtual talks about fictive art. Read more and sign up HERE

November 10 at 5pm with Peter Hill

December 8 at 5pm Pacific with Iris Häussler

432 pages with 16 pages of color plates
August 2021. Softcover.
$49.95 | 9781733957953

1991 was marked by several landmark global events: the USSR disbanded, formally ending the Cold War; Tim Berners-Lee announced the World Wide Web and the internet’s first website went live; four LA police officers brutally beat Rodney King and the civilian video-recording was broadcast around the world; the United States initiated the first Gulf War. The thing I remember most is that Nirvana’s Nevermind was released and “Smells Like Teen Spirit” was on the radio constantly.

On occasion of the exhibition reopening, watch the video of Iris Häussler and Sky Goodden in conversation.

In this conversation which took place 2021 02 16, Clark and Häussler discuss the ways in which fiction and memory coalesce in both of their practices, the effect that moving to a different country had on their work, and the intuitive nature of their material explorations. This online presentation bridges Clark’s exhibition “Unrequited Love,” which closed on March 27th, and Häussler’s upcoming exhibition “Archivio Milano 1991,” opening April 10th.

Daniel Faria Gallery is pleased to announce that we will be reopening our doors this Friday, June 11th. Iris Häussler's current exhibition Archivio Milano 1991 is extended through July 31st.

On October 1, 1942, Milwaukee landlord Agnes Przybylski discovered an unusual scene in the apartment she had rented to a French immigrant fifteen years prior. Everything in the space appeared eerily untouched—just as it was on the day it was rented. However, a storage room in the back was crammed wildly with her tenant’s things and filled with works of art and altered clothing. The tenant, Florence Hasard, was nowhere to be found.

Read more about the exhibition here.

The Sophie La Rosière Project: book now available at the AGYU and  and at TYPE BOOKS.