Anselm Kiefer. Fallen Angels, curated by Arturo Galansino, delves deeply into the artistic poetics of the renowned German artist, Anselm Kiefer.
Through an immersive exploration of themes such as memory, myth, history, literature, and poetry, Keifer invites the viewer on a journey into the depths of the human condition, weaving intricate connections between the past, present, and future. For those who haven't had the opportunity to see it firsthand, this article highlights the key elements of this captivating exhibition.
Since the late 1960s, Anselm Kiefer has established himself as a pivotal figure in contemporary art. His work is characterized by its scale, materiality, and the inspiration from philosophy and literature. These elements combine to express a core principle in Kiefer's artistic practice: the constant refusal of limits.
Anselm Kiefer's “Fallen Angels” was held at Palazzo Strozzi, creating a dialogue between Kiefer's contemporary art and the rich architectural heritage of the building. The title itself evokes a universal theme that resonates across cultures and throughout history. Fallen angels expelled from paradise for their rebellion against God, represented the duality of human nature, the constant struggle between good and evil that lies within each of us.
The exhibition begins with a powerful statement in the courtyard of Palazzo Strozzi: “Engelssturz” (2023), an installation that reinterprets the fall of the rebel angels. Kiefer's interpretation is an intense and thought-provoking work, featuring collaged men's clothing and gold leaf on a weathered surface. The figures appear to tumble and fall, their expressions contorted in pain, symbolizing the eternal conflict between light and darkness, order and chaos. Inside Palazzo Strozzi, “Vestrahlte Bilder” (1983-2023) is a site-specific installation that fills the largest room with the display of 60 paintings. These works, created over four decades, have been subjected to radiation from plutonium, resulting in a unique deterioration and discoloration. The paintings are arranged on the walls and reflected in a central mirror, creating a sense of infinite depth and decay. This work invites reflection on the fragility of existence and the destructive potential of human actions.
“Luzifer” (2012-2023), features a ravaged airplane wing bulging from the canvas, reminiscent of the Nazi salute Kiefer performed in his controversial 1969 series “Heroic Symbols”. The juxtaposition of the airplane wing with a figure resembling Lucifer challenges viewers to confront the dark side of humanity and the ambivalence of technology.
The exhibition also delves into the realm of mythology and the classical world. Paintings dedicated to Eliogabalo, a controversial Roman emperor, and female figures from Ovid's Metamorphoses, Danae (2016), Cynara (2023), and Daphne (2008-2011), celebrate the power of the sun, the beauty of nature, and the transformative nature of love.
Finally, the exhibition concludes with a statement on artistic accountability. Kiefer's “Heroische Sinnbilder” (2009) series, featuring photographs of the artist performing the Nazi salute, is exhibited with a passage from Salvatore Quasimodo's poem "Ed è subito sera". It invites the viewers to confront the complexities of history and the responsibility of artists to address these difficult subjects in their works.