Janaina Tschape: Melantropics

Janaina Tschäpe: Melantropics

Published by Contemporary Art Museum St. Louis 3750 Washington Boulevard St. Louis, Missouri 63108

This publication was prepared on the occasion of the exhibition Janaina Tschäpe: Melantropics September 15–December 31, 2006 Curated by Andrea Green, Associate Curator, for the Contemporary Art Museum St. Louis

Funding for the exhibition has been generously provided by the Whitaker Foundation, William E. Weiss Foundation, Regional Arts Commission, Missouri Arts Council, a state agency, Arts & Education Council, and Friends and Members of the Contemporary, with in-kind support from the Chase Park Plaza Hotel, Sikkema Jenkins & Co., New York, and Pace Framing, St. Louis.

Copyright © 2006 Contemporary Art Museum St. Louis, the artist, and the authors All rights reserved

ISBN: 9780977752812 Library of Congress Control Number: 2006906554

Designed by Bruce Burton Copy edited by Kate Wagner

Printed by Stolze Printing Company, Inc. Printed and bound in St. Louis, Missouri

Available through D.A.P./Distributed Art Publishers 155 Sixth Avenue, 2nd Floor New York, New York 10013 Tel: (212) 627-1999 Fax: (212) 627-9484

Contents

6 Director’s Foreword Paul Ha

7 Curator’s Acknowledgments

Andrea Green

9 Melantropics Andrea Green

17 Janaina Tschäpe and the Pirlimpimpim Dust

Ricardo Sardenberg

57 Exhibition Checklist

58 Biography

*************************************�

8

I am delighted that the work of artist Janaina Tschäpe is kicking off the Contemporary’s fourth season. This exhibition reaffirms the Contemporary’s commitment to supporting artists of our time, including artists who create new work for our museum during residencies in St. Louis. Many of the photographs and one of the videos in the exhibition are the result of Tschäpe’s residency in St. Louis during the summer of 2006. The balance of the show was conceived and created in Rio de Janeiro, Brazil, and Brooklyn, New York. The series of photographs and the video made during Tschäpe’s weeklong residency at the Missouri Botanical Garden display her extraordinary ability to construct a world that is at once ethereal and inexplicable. I thank Janaina for producing this beautiful and powerful exhibition for the Contemporary, and I am proud to bring this work to the public.

I am indebted to those whose generosity made the exhibition and the accompanying catalog possible. I would like to commend Andrea Green, the Contemporary’s Associate Curator, for organizing this exhibition and introducing Tschäpe’s work to the Midwest. I am fortunate to be part of a team that is continually reenergized through advocacy for artists and through the projects we present to our community. Bringing Tschäpe’s work to the Contemporary allowed us to create a new and important partnership with the Missouri Botanical Garden, and I am grateful to Dr. Peter Raven, Peggy Lents, Lisa Brandon, and Elizabeth McNulty for their spirit of collaboration and participation. We could not have picked a better backdrop for Tschäpe’s new body of work≠—the Botanical Garden is indeed magical. I would also like to recognize early and generous support from Michael Jenkins and Sikkema Jenkins & Co., New York. We are enormously thankful for the sponsorship of the Arts & Education Council; Missouri Arts Council, a state agency; Regional Arts Commission; William E. Weiss Foundation; and Whitaker Foundation; and my utmost gratitude goes to the Friends and Members of the Contemporary.

As ever, I remain profoundly grateful to our board and its president, John Ferring, whose leadership and tireless dedication make it possible for the Contemporary to continue our work. I am also deeply obliged to Ricardo Sardenberg for contributing his thoughtful essay for our catalog.

On behalf of the Museum and its Board of Trustees, I would particularly like to thank our dedicated staff members, who worked tirelessly on this exhibition.

Paul Ha Director

************************************************************************************************************

6

Director’s Foreword

Elizabeth Dahlberg, Hannah Gruber, Danae Mcleod, Natalie Popovic, Masha Vaynman, and Rebecca Walsh; they were all enthusiastic and a pleasure work with. Thanks go to Parque Lage in Rio de Janeiro for allowing Janaina to create the initial body of work for Melantropics there and to the models who braved the forest, fought off mosquitoes, and scaled trees: Luiza Cavendish Arraes, Francisca Carapeba Caldas, Dayane Conceicao, Clarice Falcao, Isabel Falcao, Daniela Fortes, Mariana de Moraes, Gracy Klen Moreno, and Rodrigo Sampaio de Souza.

Special thanks go to Michael Jenkins of Sikkema Jenkins & Co., New York, and his staff for their contribution and help, which made this exhibition and catalog possible. I thank Teka Selman for her initial assistance with this project and for introducing me to Janaina’s work. I am grateful for the detailed and necessary efforts of Heige Kim and for Hannah Whitaker’s handling of the image reproductions. Thank you to Sandra Marchewa and Paul Young of Pace Framing in St. Louis for their exquisite work.

I would like to thank Ricardo Sardenberg for his insightful and engaging essay, which provides a unique perspective on Janaina’s work and this exhibition. I am grateful for Kate Wagner’s meticulous editing of this publication; she is always a delight to work with. Thank you to Laura Strand at Southern Illinois University at Edwardsville (SIUE) for bringing Janaina in as a visiting artist.

The support, humor, and ability to make us all smile of Vik Muniz and Mina Rosa Muniz Tschäpe is greatly appreciated.

Finally, I would like to thank Janaina Tschäpe for creating a wonderful body of art to share with the Contemporary and the St. Louis community. Her dedication, enthusiasm, and process have inspired me, and I am thrilled to have had the opportunity to work with her on such a fun and engaging project.

Andrea Green Associate Curator

Curator’s Acknowledgments

7

There are many individuals I would like to thank for their assistance with and contributions to Janaina Tschäpe: Melantropics. I am grateful for the dedication of the Board of Directors and entire staff of the Contemporary as we worked together to bring Janaina’s artwork to St. Louis. My heartfelt thanks and appreciation go to Paul Ha, Director, and Shannon Fitzgerald, Chief Curator, for their unyielding support, encouragement, and enthusiasm for this exhibition and its accompanying catalog. I would like to thank Brandon Anschultz, Exhibitions Manager, and Mike Schuh, Registrar, and their crew for the flawless installation of Janaina’s work and for their tireless dedication and attention to detail. My sincere thanks go to Bruce Burton, Graphic Designer, for his expertise and sensitivity to Janaina’s work in the design and production of this stunning catalog. Thank you to Rebecca Walsh, Program Assistant, for her curatorial and educational assistance. I am grateful for the education initiatives produced by Kathryn Adamchick, Director of Education, and Ben Shepard, Education Associate/Art Instructor, with a special thank you to the students of New Art in the Neighborhood and the Fusion Teen Program at Cardinal Ritter College Prep High School. I acknowledge with thanks the efforts of Lisa Grove, Deputy Director and Director of Development, and Jennifer Gaby, Manager of Public Relations, Marketing, and Events. My appreciation and gratitude go to the following staff members for their energetic work on this exhibition: Betsy Brandt, Erinn Gavaghan, Jason Miller, Cole Root, Kiersten Torrez, Sarah Ursini, and Mary Walters. The Contemporary Art Partnership docents deserve recognition for their engaging tours and dedication. I am indebted to the following interns for providing assistance over the course of this project: Elizabeth Dahlberg, Stephanie Finkelstein, Ellen Fuson, Matthew Levy, and Mark McLeod.

I would like to thank Peter Raven, Director of the Missouri Botanical Garden, and his committed staff—Peggy Lents, Lisa Brandon, and Elizabeth McNulty—for making Janaina’s residency in St. Louis possible. The Garden proved to be the perfect location for Janaina’s photographs and video. My gratitude goes to the models who worked on location at the Garden:

************************************************************************************************************

Melantropics, 2006, installation view at the Contemporary Art Museum St. Louis

9

The garden is a locus of marvel and delight, where plant life blossoms, flourishes, entices, withers, decays, and dies. It is also a place of simulation, as it can be effectively shaped, controlled, and cultivated. It is a territory that fosters growth and manipulation, where human intervention entwines with the organic. The garden, in both its public and private forms, is the foundation for the exhibition Melantropics, in which German-Brazilian artist Janaina Tschäpe explores the amalgamation of costumed female bodies and landscape through the use of photography, video, and drawing. The result is a curious botanical milieu embodied with notions of solitude and fantasy. The title for the exhibition, Melantropics—which combines the words melancholy and tropics≠—is a concept invented by Tschäpe that refers to the epidemic of melancholy that occurred in Brazil at the end of the 19th century. This hybridity is a thread throughout Tschäpe’s work and titles—she combines elements found in nature with fabricated costumes and props and blends words and languages to form new ones, which results in her own fictitious botanical nomenclature and constructed environments that hover between the natural and artificial.

MelantropicsBy Andrea Green

*****************************************************************************************************************************************************************************************************************************

Tschäpe produced a new series of photographs and a video during a weeklong residency at the Missouri Botanical Garden in St. Louis. Founded by Henry Shaw in 1859, it is one of the oldest botanical institutions in the country and a National Historic Landmark. The Garden serves as an oasis in the city of St. Louis—79 acres of horticultural display include a 14-acre Japanese strolling garden and the Climatron conservatory, which simulates a tropical lowland rainforest. In addition to the work made in St. Louis, Melantropics also includes photographs and videos Tschäpe produced at the tropical Parque Lage, located in Rio de Janeiro, Brazil. Designed in the late 1840s by the English gardener John Tyndale, Parque Lage is comprised of gardens, dense forests, and small grottos.

The starting point for Melantropics is a suite of small-scale color photographs from the Botanica series that were created among gardens in Weimar, Germany, and within the artist’s private garden in Brooklyn, where she cultivates a variety of plant life. In these photographs, existing vegetation is embellished with

10

placticine or newly fabricated forms that reference human reproductive organs or whimsical flowers and otherworldly vegetables are introduced into the landscape. Sculpted forms such as lavender petals provoke the viewer to question what is natural and what is made by the artist, as the differential between the two is not clear. Tschäpe plays with the notions of fantasy and fairy tale, creating works that could be snippets from a children’s tale—such as Alice in Wonderland, which features incredible gardens. Yet the works still embody a sense of the natural. This tension between the real and the artificial gives the photographs an indeterminate locale. Juxtaposed with the Botanica series is a large-scale watercolor drawing, Primavera. Saturated patches of reds, blues, yellows, and greens are overlaid with loosely drawn plant life. The artist’s hand is evident in this aqueous garden landscape that has emerged from memory and imagination.

Primavera segues into the large-scale photographs created at the Missouri Botanical Garden and Parque Lage. Tschäpe directed these performance-oriented photographs among lush botanical settings with human models, in this case young, quiescent women wearing artist-made costumes that are biomorphic in form and include various appendages of latex, inflatables, and colorful fabrics. These curious, artificial extensions of the youthful female body evoke imaginary creatures. The models interact with props—such as helium-filled balloons and fabric forms—and the natural and man-made surroundings. The vibrant costumes transform individuals into hybrid living things—part creature, part flower—where they linger quietly in a location that is neither here nor there (not quite in the natural world and not fully in the realm of fiction). In these images, the discovery of a new mythic creature in its habitat suggests that secrets abound.

Nestled within the lush foliage of the garden, the young woman in the photograph Ovalaria Floris might be mistaken for a flower or a garden nymph. Pink and white fabric appendages drape from her body and lie beside her like flower petals that have fallen from the tree she sits beneath. In Octopussi Mollis, a squidlike creature with protruding tentacles spread out on

the verdant green lawn lies motionless as if at rest, asleep, or possibly deceased. Although female bodies activate the costumes, creating volume and dimension, evidence of human anatomy is minimal. The costumes themselves are emphasized. Hair covers faces, becoming extensions of the costumes, limbs are hidden within the bulbous armatures, and tails and tentacles blend with existing arms and legs. In other photographs, Tschäpe populates the surroundings with vegetation she shapes from handmade fabric in an effort to create a tension between what is natural and what is artificial. These surreal sculptural forms of bright oranges, blues, yellows, and greens appear to be new growths with magical or perhaps even invasive origins. Tschäpe plays with an implied narrative, suggesting that an unusual scenario has occurred or is about to take place. The photographs seem to be fragments of a larger whole, possibly film stills from a science fiction movie or documentation of a newly discovered species.

The large-scale photographs from the public settings are complemented with Polaroids Tschäpe produced in her garden. These images contain paper-doll cutouts of costumed models that are arranged within the foliage and then rephotographed. The pixielike figures and garden nymphs interact with their enchanted settings. As referenced in the title of the series, A Botanist’s Dream, these tiny hybrid creatures might be found in a terrarium where they frolic in their surroundings and are kept captive for display, study, and enjoyment. These intimate photographs make reference to the legend of the Cottingley Fairies in England. In the early 1900s, two cousins photographed paper cutouts of winged figures in natural surroundings and portrayed them as proof of the existence of fairies. This kind of hoax or trickery is not at the heart of Tschäpe’s work, but the placing of fabrications within the natural is an integral part of Tschäpe’s photographs. This layering in a three-dimensional environment is then compounded into a single-frame photograph, creating a two-dimensional fictitious diorama.

Accompanying the Polaroids in the exhibition are three videos from the Insomnia series. The videos are silent, inviting the viewer to contemplate the fragmented narrative of the figures

11

interacting with their surroundings. In Insomnia I, a woman stops in the midst of her journey through the dense forest of Parque Lage. Pulling along a suitcase of her wares, she pauses next to a tree where a piece of green fabric hangs down to the ground from the branch it is wrapped around. She scales the fabric effortlessly, like an acrobatic nymph, and she then begins the process of ritualistically wrapping and unwrapping herself in the fabric. Twisting and turning, she creates a pocket out of the fabric to rest in, as if coddled within a cocoon. Often changing positions, the woman cannot seem to find a comfortable position; she is in a constant state of flux. After brief pauses, the woman slides down the fabric, puts on her shoes, and then continues on her journey through the forest. This is the only imagery within Melantropics in which the human figure is completely revealed; here Tschäpe provides a glimpse into the transformation of the models as they shift from reality to imagination. In Insomnia 2, a mythic creature lurks restlessly in a cave, pulling and carrying her appendages and moving from one side to another, endlessly searching for a place to be still. This repetitive movement continues in Insomnia 3, where the same figure from Ovalaria Floris tumbles down a hill over and over again. In all three videos, the subjects are in a state of suspension—stuck in a recurring cycle of restlessness.

The settings Janaina Tschäpe conceives in her work are vibrant, seductive, surreal, and at the same time contemplative, still, and melancholic. Her fabricated creatures and vegetation enhance existing botanical environments by taking them into the realm of dream and fantasy. A compelling tension is created through this process, resulting in an unusual artifice—a melantropics.

Insomnia 1, 2006, (film stills), DVD, 11 minutes, 14 seconds, looped. Courtesy of the artist and Sikkema Jenkins & Co., New York

13

opposite and above: Melantropics, 2006, installation views at the Contemporary Art Museum St. Louis

Untitled, 2004, (detail), watercolor on paper, 5 1/2 x 101 1/5 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

When Janaina Tschäpe removed herself from her photographs and let other bodies act out her performances, she inverted the game of her artwork. In her early work, her body was the subject of the action; it transformed the landscape or transformed itself by means of makeup, devices, and improvisations. The camera was an extension of her body. For example, Tschäpe, dressed as a clown, submerged herself in a bathtub and made a self-portrait by stretching her arm out of the water. She became the object of her photograph the image of a suicide, an inverted Narcissus.

These early works were personal performances, solitary, as if exorcising a whole past by means of private rites. Slowly, the

Janaina Tschäpe and the Pirlimpimpim Dust

1 Monteiro Lobato (1882–1948), the most renowned author of children’s literature in Brazil, wrote Reinações de Narizinho in 1931. His work can be compared to Lewis Carroll’s in terms of the rich and symbolic im� Sítio do Pica-Pau Amarelo (Ranch of the Yellow Woodpecker), where the “pirlimpimpim dust” contained in the title of �to the magical worlds of La Fontaine’s and Aesop’s tales for incredible adventures.—Ed.

*****************************************************************************************************************************************************************************************************************************

By Ricardo Sardenberg

*****************************************************************************************************************************************************************************************************************************

body gained representativeness. Artificial characters emerged out of the artist’s transformations, eventually ripping through the body’s wrapping and becoming autonomous. New rules were created for new games. In this moment the “Kingdom of Clear Waters” emerged in Tschäpe’s work, where the characters tell the tale, take over, and become the tale. This kingdom is found in a chapter of the Brazilian children’s book Reinações de Narizinho, by Monteiro Lobato.1 The doll Emília takes over one of Lobato’s stories after she swallows Dr. Snail’s magic pill, learns to talk, and never stops. The universe of the fable, of the fairy tale, is retold as if one is participating in it and modifying it at will. This universe is the margin.

17

The Other enters Tschäpe’s stage, and what was private before, now is collective. All have to believe in the existence of monsters, heroes, fairies, and witches in her dreamlike universe of myths, fiction, and play. The participants, seduced by the artist’s mermaid songs, develop a constant state of imagination, a state of hypersensitivity typical of children’s tales, in a kind of melancholic epiphany. Melancholy can be found in its ancient state in the way it influences the bodies of Tschäpe’s models. It was believed that under the influence of the melancholic humor the body could be undone into pure imagination. Maybe this is what happens with Lobato’s characters: they are bodies that dematerialize into fiction.

Everything takes place from the starting point of the game.2 The game is a space where relationships are built by clear rules separate from daily life. It also contains a relationship between tension and pleasure: the tension of doubt (Is it going to work out?) and the obvious pleasure of playing a game. Still, the game is prior to culture. If we look at animals, we see that they know how to play games with each other, establishing rules of how and when to bite, or faking feelings, for example. In this sense, the game holds meaning within itself. Culture has emerged and reified the game, separating it from the flux of life.

The game is key to understanding Tschäpe’s work, for the artist’s creativity is above all linked to life and not to established concepts. Here, the game is prior to culture: before the game was impregnated by culture and became an object constitutive of the relationships between beings, before the game was reified. When the game crystallizes, it disappears within culture as if in a sleight of hand, ceasing to hold its own meaning and featuring physiological and psychological aspects. In daily life we are accustomed to seeing the concealed forms of the game as social staging through culture, but never prior to it.

Creativity, for Tschäpe, enters as an instrument of reintroduction, or better, the gushing of the game as life flux, where all participants entertain the hope of working with a meaning prior to culture. The art production process, when collective, finds itself in the margin between being a signifier (holding its own meaning), like the game, and being culture’s structure (with

2 The central thesis of the game was taken from the book Homo Ludens, by Johan Huizinga (São Paulo: Perspectiva, 1980).

3 Moacyr Scliar Saturno nos Trópicos—a melancolia européia chega ao Brasil (SP: Editora Companhia das Letras. Primeira edição, 2003), 79.

************************************************************************************************************

physiological and psychological meanings). Tschäpe’s friends are asked to participate in her work with their bodies under more or less established rules, which aim to elaborate a new fantastic reality. There is a half-narrative and there are characters that need to be incorporated therein. But, before that, all need to make the trip from daily life to fantasy.

In Monteiro Lobato’s Reinações de Narizinho, the invisible character Peninha gives the children of the Sítio do Pica-Pau Amarelo (Ranch of the Yellow Woodpecker) his famous pirlimpimpim dust, which transports them from the structured world into the fables of La Fontaine and Aesop. The Sítio do Pica-Pau Amarelo gang and the great fabulists meet in the jungle. La Fontaine and Aesop do not invent their fables in Lobato’s stories, but, instead, they live in the jungle observing the animals. For instance, the ant and the cricket act out their own destinies over the centuries, and, consequently, they also act out the very moral of the tale. However, the doll Emília intervenes in the fable and changes its conclusion: a kind of halfway between the universe of established culture and that of fantasy. Emília is the transforming agent of the institution of the original fable. The Sítio do Pica-Pau Amarelo gang live their adventures by reenacting the famous French and Greek fables, which are inevitably modified by the presence of these new characters. And the morals of the tales change.

The rules of Tschäpe’s game are composed of an Aristotelian conception of melancholic humor in which the soul detaches from the body and, with the help of an energizing and inspiring force, enables future events to be foreseen.3 Melancholy here is shown as a positive vector, one of hypersensitivity, ecstasies, and fantastic visions. What before were established relationships within patterns, are now transformed into fantasy, and the “process” becomes the celebration of creation and the creational game that is crystallized in Tschäpe’s work.

18

Dani 1 (from After the Rain), 2003, Cibachrome, 20 x 30 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

Untitled, 2004, (detail), watercolor on paper, 5 1/2 x 101 1/5 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

4 Maria Julieta Drummond de Andrade, “Roberto Burle Marx,” O Globo, January 5, 1984, 29.************************************************************************************************************

Janaina Tschäpe and the Earthly Heaven

The idea of Brazil itself came into being along with the idea of the existence of an earthly heaven that could be reached by those who ventured in its search. According to sacred texts, this Garden of Eden was protected by terrible monsters or great hardship, and these descriptions were amplified by the accounts of sailors and explorers, at a time when Europe was stepping out of a century that was devastated by horrible plagues that killed over half its population. The earthly heaven was a world of absolute abundance, where it would be possible to make every dream come true: from the profusion of food to free sex, from liberty without any social restraint to eternal health without death to put an end to the flux of life on Earth, as well as miraculous rivers and golden fountains that gush gold and people who feed themselves through the simple smell of fruit. Reinforced by paintings, drawings, and engravings in 16th and 17th century Europe, the illusion concerning what existed south of the equator was always related to seductive abuses, sensual dreams, and a luxurious exoticism. Gold and the colors of an exuberant flora and abundant waters are the predominant shades in these heavenly excitements. This sensualist imagination is still present in modern times.

The work of Janaina Tschäpe gets its inspiration from that propensity to the imaginary. It is a testimony to the belief in the imagination. Without abandoning photographs and videos, Tschäpe has made drawings the central element of a new order for her work. The characters have become less a part of a story than of a landscape. That landscape was developed over time. In small sketching notebooks Tschäpe obsessively effused colored scribbles that sometimes resembled organs of the human body and at other times appeared to be landscapes lost somewhere in memory. They were representations of the simple pleasure of painting, of the company of paper and of pencil cases that were consumed with an infantile voraciousness, like a child that can have as many pencils and paper as he or she wishes at his or her disposal. As time went by, the images began to settle and the drawings gained scale, the colors and paint became denser,

and the forms became clearer. Tschäpe found a garden where imaginary and real plants mingled. A kind of garden that meets its exuberance, but instead of having a scientific attitude, there is an earthly heaven of aquatic plants and golden colors. These drawings are of landscape style; they are more about landscape than narrative.

Roberto Burle Marx was certainly the most influential Brazilian landscape architect of the last century. His work can be seen at Aterro do Flamengo, on the sidewalks of the Copacabana beach, in private homes, and in many other places throughout Brazil. Burle Marx realized he was a landscape architect during 1928 and 1929, while he was studying painting in Berlin. He often visited Berlin’s Dahlem Botanic Garden, where he learned about Brazilian flora, which was typical of Brazilian artists of the modern period who often reencountered Brazil by leaving it. The most surprising things in Burle Marx’s unusually beautiful gardens are the masses of color, as well as the forms and colors of exotic plants and flowers. Much of this is similar to Tschäpe’s work, from the monumental scale to the colors and forms. According to Burle Marx, a garden “is a live work of art which results from the combination of different forms and colors, as is also the case with painting and with musical sounds.” And, “a good garden is one that reveals spatial comprehension and juxtaposition of forms and volumes, as in painting and in architecture.”4 But the proximity of these two artists of such distant generations might be explained by the fact that a garden lives by and depends on the water that sustains it. Indeed, the gardens made by Burle Marx often contain lakes with flora immersed in them.

In fact, Tschäpe’s work resembles a Victoria regia, an aquatic plant typical of the Amazon and of flooded regions. It has large, circular leaves with folded edges, creating a basin that can reach 6 feet in diameter. The Victoria regia’s leaves float on the water, and they often open at night. This explains the existence of an Amazon Indian legend in which a little girl loved the moon and the stars so much that she believed that someday the moon

22

Untitled, 2004, watercolor on paper, 5 1/2 x 101 1/5 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

would come to get her and change her into a star. One night the girl bent over a river to admire the sky full of stars reflected in the water, which hypnotized her. Diving into the water, the little girl turned into a Victoria regia.

This tale, which combines water, sky, and a chimeric organic transformation, illustrates all the imaginary aspects that are present in Tschäpe’s work. Water, the source of life and, at the same time, a soft and sensual element, is present as the transforming agent. Tschäpe’s drawings, which absorb a large amount of water as she applies watercolor pigments, are transformations of nature. In a certain way, the plants that emerge from new forms in the drawings generate the characters in the photographs: botanical animals that are swallowed by flora, by the jungle, or by a botanical garden.

The photographs in this exhibition are full of transforming processes and clashes between the cultural, the botanical garden, and the natural. The animals made of gas, rubber, and cloth are constructions that intervene in the garden and deconstruct its sorting feature. Without the narratives of fables or imaginary stories, the only thing that remains in Tschäpe’s photographs is the shock of the strange inserted in the landscape. When Janaina Tschäpe’s work is viewed as a whole, her quest for the beautiful, the pleasurable, and the sensual becomes clear.

Translated from Portuguese by Gavin Adams and Rodrigo Sardenberg.

Ricardo Sardenberg is an independent curator based in Belo Horizonte, Minas Gerais, Brazil. Sardenberg was Director of Centro de Arte Contemporânea Inhotim, Brazil, from 2001 to 2005; Director of Galeria Camargo Vilaça, São Paulo, Brazil, from 2000 to 2001; Adjunct Curator at Pinacoteca de São Paulo, São Paulo, Brazil, from 1999 to 2000; and Director of Zabriskie Gallery, New York, New York, from 1993 to 1998. He recently curated the exhibition José Bento: Chão at Galeria Bergamin, São Paulo, Brazil.

23

************************************************************************************************************

11Melantropics, 2006, installation view at the Contemporary Art Museum St. Louis

Xicletoformis Geminis, 2005, glossy C-Print, 50 x 40 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

opposite page: Octopussi Mollis, 2006, glossy C-Print, 40 x 50 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

Bulbosus Neros, 2006, glossy C-Print, 30 x 24 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

opposite page: Ovalaria Floris, 2006, glossy C-Print, 50 x 60 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

Xicletoformis Pluralis, 2005, glossy C-print, 60 x 50 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

opposite page: Glandulitera Maris, 2005, glossy C-Print, 40 x 50 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

Indigus Gentilis (Oculus), 2005, glossy C-Print, 24 x 30 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

opposite page: Pendulus Somnis, 2005, digital glossy C-Print, 50 x 60 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

Veratrum Bulbosus, 2006, glossy C-Print, 40 x 50 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

opposite page: Boboras Autumnalias, 2005, glossy C-Print, 50 x 60 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York


Floribunda Noturna, 2004, R-Print, 10 1/2 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

top: Turficus Nebulatu, 2004, C-Print, 8 3/4 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

bottom: Melancholicus Strelatus, 2004, C-Print, 8 3/4 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

Phallus Impudicus, 2004, R-Print, 10 1/2 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

top: Oculis Fundis, 2005, digital C-Print, 9 1/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

bottom: Rosalinda Humida, 2005, digital C-Print, 8 5/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

top: Cogumelus Venum, 2005, digital C-Print, 8 5/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

bottom: Fungus Lunaticus, 2005, digital C-Print, 9 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

Azulis Venosus, 2005, digital C-Print, 13 x 8 5/8 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

top: Tomatus Phobicus, 2004, R-Print, 10 1/2 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

bottom: Musgus Sombris, 2005, digital C-Print, 8 5/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

top: Cadmium Infecto, 2005, digital C-Print, 9 1/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

bottom: Crocodilus Lificus, 2005, digital C-Print, 8 5/8 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

Inflatum Laranjatha, 2004, R-Print, 10 1/2 x 13 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

Primavera, 2006, watercolor on paper, 60 x 119 inches. The Misumi Collection, Tokyo, courtesy Sikkema Jenkins & Co., New York

opposite: Primavera (detail)


A Botanist’s Dream 3, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

left: A Botanist’s Dream 7, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York

right: A Botanist’s Dream 1, 2006, Polaroid, 9 1/2 x 7 1/2 inches. Courtesy of the artist and Sikkema Jenkins & Co., New York








left: Insomnia 2, 2006, (film stills), DVD, 16 minutes, 32 seconds, looped. Courtesy of the artist and Sikkema Jenkins & Co., New York

right: Insomnia 3, 2006, (film stills), DVD, 11 seconds, looped. Courtesy of the artist and Sikkema Jenkins & Co., New York

All works are courtesy of the artist and Sikkema Jenkins & Co., New York, unless otherwise indicated.

Boboras Autumnalias, 2005, glossy C-Print, 50 x 60 inches

Glandulitera Maris, 2005, glossy C-Print, 40 x 50 inches

Xicletoformis Geminis, 2005, glossy C-Print, 50 x 40 inches

Xicletoformis Pluralis, 2005, glossy C-print, 60 x 50 inches

Pendulus Somnis, 2005, digital glossy C-Print, 50 x 60 inches

Indigus Gentilis (Oculus), 2005, glossy C-Print, 24 x 30 inches

Veratrum Bulbosus, 2006, glossy C-Print, 40 x 50 inches

Octopussi Mollis, 2006, glossy C-Print, 40 x 50 inches

Ovalaria Floris, 2006, glossy C-Print, 50 x 60 inches

Bulbosus Neros, 2006, glossy C-Print, 30 x 24 inches

Primavera, 2006, watercolor on paper, 60 x 119 inches The Misumi Collection, Tokyo

Azulis Venosus, 2005, digital C-Print, 13 x 8 5/8 inches

Cadmium Infecto, 2005, digital C-Print, 9 1/8 x 13 inches

Cogumelus Venum, 2005, digital C-Print, 8 5/8 x 13 inches

Crocodilus Lificus, 2005, digital C-Print, 8 5/8 x 13 inches

Fungus Lunaticus, 2005, digital C-Print, 9 x 13 inches

Musgus Sombris, 2005, digital C-Print, 8 5/8 x 13 inches

Oculis Fundis, 2005, digital C-Print, 9 1/8 x 13 inches

Rosalinda Humida, 2005, digital C-Print, 8 5/8 x 13 inches

Turficus Nebulatu, 2004, C-Print, 8 3/4 x 13 inches

Exhibition Checklist************************************************************************************************************

Floribunda Noturna, 2004, R-Print, 10 1/2 x 13 inches

Inflatum Laranjatha, 2004, R-Print, 10 1/2 x 13 inches

Melancholicus Strelatus, 2004, C-Print, 8 3/4 x 13 inches

Phallus Impudicus, 2004, R-Print, 10 1/2 x 13 inches

Tomatus Phobicus, 2004, R-Print, 10 1/2 x 13 inches

A Botanist’s Dream 1, 2006, Polaroid, 9 1/2 x 7 1/2 inches









Insomnia 1, 2006, DVD, 11 minutes, 14 seconds, looped

Insomnia 2, 2006, DVD, 16 minutes, 32 seconds, looped

Insomnia 3, 2006, DVD, 11 seconds, looped

57

Janaina Tschäpe Born 1973, Munich, Germany Lives and works in Brooklyn, New York

Education

1997–1998 Master of Fine Arts, School of Visual Arts, New York, New York

1992–1998 Fine Arts Studies, Hochschule für bildende Künste, Hamburg, Germany

Solo Exhibitions

2007 Sikkema Jenkins & Co., New York, New York

2006 Janaina Tschäpe: Melantropics, Contemporary Art Museum St. Louis, St. Louis, Missouri

Janaina Tschäpe, Tokyo Wonder Site, Tokyo, Japan

Janaina Tschäpe, Artium, Fukuoka, Japan

Camaleoas, Z Platz, Fukuoka, Japan

Janaina Tschäpe, Galeria Fortes Vilaça, São Paulo, Brazil

Paço das Artes, São Paulo, Brazil

2005 Lacrimacorpus, Nichido Contemporary Art, Tokyo, Japan

Blood, Sea, Catherine Bastide, Brussels, Belgium

Janaina Tschäpe, carlier | gebauer, Berlin, Germany

Janaina Tschäpe, UB Art Gallery, Buffalo, New York

Blood, Sea, Espaço Maria Bonita, São Paulo, Brazil

2004 Lacrimacorpus, ACC Galerie, Weimar, Germany

Janaina Tschäpe, Prospectif Cinéma, Centre Pompidou, Paris, France

Biography************************************************************************************************************

Blood, Sea, University of South Florida, Contemporary Art Museum, Tampa, Florida

The Sea and the Mountain, Sikkema Jenkins & Co., New York, New York

2003 After the Rain, Catherine Bastide, Brussels, Belgium

Centre d’Art à Albi, Toulouse, France

Galeria Fortes Vilaça, São Paulo, Brazil

Strange and Beautiful (Janaina Tschäpe and Mariele Neudecker), Sketch Gallery, London, United Kingdom

After the Rain, Galeria Fortes Vilaça, São Paulo, Brazil

The Moat and the Moon, Images au Centre, Le Château d’Azay-le- Rideau, Azay-le-Rideau, France

New Works, Agua Viva, Nichido Contemporary Art, Tokyo, Japan

2002 Exercises, carlier | gebauer, Berlin, Germany

Dream Sequences, Art Concept, Paris, France

Sala de Espera, Paço das Artes, São Paulo, Brazil

Janaina Tschäpe, Frac Champagne-Ardennes, Reims, France

2001 Sala de Espera, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain

Anatomy, Galeria Camargo Vilaça, São Paulo, Brazil

He Drowned in Her Eyes as She Called Him to Follow, Catherine Bastide, Brussels, Belgium

2000 He Drowned in Her Eyes as She Called Him to Follow, Artforum Berlin, Clinica Aesthetica, Berlin, Germany

1999 Entering The Space That Produces Liquid, Jensen Gallerie, Hamburg, Germany

1998 Entering The Space That Produces Liquid, Clinica Aesthetica, New York, New York

58

1997 A Viagem, Centro Cultural Ricoleta, Buenos Aires, Argentina

1996 Untitled, Galeria Espaço Cultural Sergio Porto, Rio de Janeiro, Brazil

Group Exhibitions

2006 Art Fab, St. Tropez, France

Video Festival, Contour, Malines, Belgium

Nature Attitudes, Thyssen-Bornemisza Art Contemporary, T-BA 21, Vienna, Austria

Me, Myself and I: Artist Self-Portraits from the Heather and Tony Podesta Collection, Curator’s Office, Washington, DC; Contemporary Art Center of Virginia, Virginia Beach, Virginia

Evolving Identies, ROCA, New York, New York

2005 Alem da Imagem, Instituto Telemar, Rio de Janeiro, Brazil

Croiser des Mondes, Jeu de Paume, Paris, France

Alguns Libres d’Artista, ProjecteSD, Barcelona, Spain

The White Rose, Sikkema Jenkins & Co., New York, New York

Landscape Confection, Wexner Center for the Arts at The Ohio State University, Columbus, Ohio; Contemporary Art Museum, Houston, Texas; Orange County Museum of Art, Newport Beach, California

Acting Out: The Invented Melodrama in Contemporary Art, The University of Iowa Museum of Art, Iowa City, Iowa; Neuberger Museum of Art, Purchase College, State University of New York, Purchase, New York

Shifting Worlds, Kunsthalle Fri-Art, Fribourg, Switzerland

Water, Water Everywhere…, Scottsdale Museum of Contemporary Art, Scottsdale, Arizona

Art Robe, UNESCO, Paris, France

2004 Identity II, Nichido Contemporary Art, Tokyo, Japan

Janaina Tschäpe, The Neistat Brothers and Hiraki Sawa, The 59th

Minute: Video Art on the Times Square Astrovision, Creative Time, New York, New York

Unclosed Stories, Unlimited, Athens, Greece

2003 Ordnung und Chaos, Fotomuseum, Winterthur, Switzerland

Paço das Artes, São Paulo, Brazil

On This Side of the Sky: UNESCO Salutes Women in Art, UNESCO, Paris, France

Identity, Nichido Contemporary Art, Tokyo, Japan

Ambivalence, Z Platz Museum, Fukuoka, Japan

2002 Multiplos, Galerie Luisa Strina, São Paulo, Brazil

Récits, Abbaye Saint-André, Centre d’Art Contemporain, Meymac, France

Interventions, Nuit des Musées, La Fondation Musée d’Art Moderne Grand-Duc Jean, Luxembourg, Luxembourg

Nuites Blanches, Palais de Tokyo, Paris, France

Caminhos do Contemporâneo, Paço Imperial, Rio de Janeiro, Brazil

Morro/Labyrinth, Brasilianisches Kulturinstitut in Deutschland, Berlin, Germany

Morro/Labirinto, Paço Imperial, Rio de Janeiro, Brazil

Stories, Haus der Kunst, Munich, Germany

2001 Panorama da Arte Brasileira, Museu de Arte Moderna de São Paulo, São Paulo, Brazil; Museu de Arte Moderna da Bahia, Salvador, Brazil; Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil

Rotativa Fase 1, Galeria Fortes Vilaça, São Paulo, Brazil

In Riva al Mare Mai Stanco, Riviera di Chiaia, Naples, Italy

Pay Attention Please, MAN, Museo D’arte Nuoro, Sardinia, Italy

My Generation, 24 Hour Video Art, Atlantis Gallery, London, United Kingdom

Uma Geração em Trânsito, Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil

Virgin Territory, National Museum of Women in the Arts, Washington, DC

Absences, Riksutstillinger, Oslo, Norway

59

2000 Personal Permanent Records, Blue Starr, Houston, Texas

Vanitas Personae, Gallery Sabine Knust, Munich, Germany

Sei Artist per Goethe, Eine Italienische Reise, Palazzo delle Esposizioni, Rome, Italy; Goethe-Institut, Naples, Italy

BluePrint, Spark Gallery, New York, New York

1999 Face Value, Miyako Projects, New York, New York

Personal Permanent Records, Center of Photography, Woodstock, New York

1998 Der Brasilianische Blick, The Collection of Gilberto Chateaubriand/ Brazilian Contemporary Art, Haus der Kulturen de Welt, Berlin, Germany; Ludwigforum, Aachen, Germany

K 3-Kampnagel, Absolventen der Hochschule für bildende Künste, Hamburg, Germany

Four Walls Screening, Art in General, New York, New York

1997 Dimensão da Arte Contemporanea Brasileira, Museu de Arte Contemporanea, São Paulo, Brazil

1996 Hamburger Boerse, Studenten der Hochschule für bildende Künste, Hamburg, Germany

Diálogo, Goethe-Institut, Museu de Arte Moderna, Rio de Janeiro, Brazil

Viva Brazil, Museo de Arte Contemporâneo, Santiago, Chile

1995 Corpo sobre Corpo, Museu de Arte Moderna, Rio de Janeiro, Brazil

Objetos e Instalações, Museu de Arte Moderna, Salvador, Brazil

Metrópolis e Periferia, Goethe-Institut and Deutsch-Brasilianische Kulturinstitute, Rio de Janeiro, Brazil

Kulturelle Vereinigung, Museu de Arte Moderna, Rio de Janeiro, Brazil

1994 Salão de Artes Plásticas, Museu de Arte Moderna, Salvador, Brazil

Ausência, Museu de Arte Moderna, Salvador, Brazil

Selected Bibliography

2006 Janaina Tschäpe. São Paulo, Brazil: Paço das Artes.

Con los ojos del otro: Una muestra videoartistas brasilieños. Montevides, Spain: Centro Cultural España.

Benjamin Genocchio. “Brazil, With The Clichés Erased.” The New York Times Review, April 16.

2005 Water, Water Everywhere…. Scottsdale, Arizona: Scottsdale Museum of Contemporary Art.

Acting Out: Invented Melodrama in Contemporary Photography. Iowa City, Iowa: The University of Iowa Museum of Art.

Croiser des mondes. Paris, France: Jeu de Paume.

Ted Mann. “Acquisitions.” Guggenheim, Fall, 11.

Landscape Confection. Columbus, Ohio: Wexner Center for the Arts, The Ohio State University.

2004 100 Little Deaths. Reims, France: Le Collège Editions/Frac Champagne-Ardenne.

Janaina Tschäpe. Tokyo, Japan: Nichido Contemporary Art.

Stephen Maine. “Janaina Tschäpe at Brent Sikkema.” Art in America, November, 171.

Christine Schwartz Hartley. “Ensemble Production.” Interior Design, August, 134–40.

Raul Zamundo. Art Nexus, no. 53, July, 136–37.

Mack Von Gerhard. “Gedächtnis der Bilder.” Art Das Kunstmagazin, no. 2, February, 79–85.

Steve Dollar. “Playful Fantasy Clips in a New York Minute.” Newsday.com, January 18.

Bernard Marcelis. “Images au Centre photographie, Vidéo et patrimoine.” Art Press, January, 82.

2003 Anaïd Demir. “Contes & Chimères.” Jalouse, no. 66, December, 68–70.

Dominique Von Burg. “Poesie selbst im Schrecklichsten.” Zürichsee- Zeitung, December 18.

60

Daniel Di Falco. “Der Bilderschatz von Winterthur.” Der Bund, November 11.

Michel Guerrin. “La photo, invitée discrète des château de la Loire.” Le Monde, November 11.

Régnier Phillippe. “A fleur de peau.” Le Journal des Arts, no. 177, September 26–October 9, 10.

Linda Yablonsky. “Putting guts on the outside.” ArtNews, September, 105.

G. C. “L’étrange chassé-croisé des Cimaise et Portique.” Le Tarn Libre, August 29, 6.

Nahima Maciel. “Mapa de origins Latinas.” Correio Braziliense, Caderno C, Brazil, July 21.

Elder Ogliari. “Arqueologia moderna conduz Bienal do Mercosul.” O Estado de São Paulo, Caderno 2, July 14.

Claire Moulene. “Chassé-Croisé François Curlet/Janaina Tschäpe à Albi.” Les inrockuptibles, arts/scenes/styles.

A. M. M., “Organisée par Cimaise et Portique ‘Chassé-Croisé’ une fable d’été.” Tarn, July 13.

Annabel Wright. “New gallery in Ginza hunts for what it means to be human.” Daily Yomiuri, March 27, 20.

On This Side of the Sky, Paris, France: UNESCO.

Bernard Marcelis. “Janaina Tschäpe.” Art Press, May, 73.

2002 Olivier Michelon. “Icône Gothique.” Le Journal des Arts, no. 145, March 22–April 4.

Stories, Munich, Germany: Haus Der Kunst.

2001 Absences. Stockholm, Sweden/Paris, France: Fravaerabsences.

Françoise-Aline Blain. “Artiste du Mois, Janaina Tschäpe.” Beaux- Arts Magazine, no. 214, March.

Celso Fioravante. “Janaina Tschäpe.” Tema Celeste, no. 87, September–October.

Sala de Espera, Madrid, Spain: Museu Nacional Centro de Arte Reina Sofia, Ediciones del Museu Nacional Centro de Arte Reina Sofia.

Virgin Territory, Women, Gender and History in Contemporary Brazilian Art. Washington, DC: National Museum of Women in the Arts.

Public Collections

21st Century Museum of Contemporary of Art, Kanazawa, Japan

Banco Espirito Santo, Lisbon, Portugal

Caisse des Dépots et Consignations, Paris, France

Centre Pompidou, Paris, France

Clifford Chance, US LLP, New York, New York

Coleção Gilberto Chateaubriand, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil

Collection Museu Nacional Centro de Arte Reina Sophia, Madrid, Spain

Fondation Belgacom, Brussels, Belgium

Fondation la Maison Rouge, Paris, France

Fondation Antoine de Galbert, Paris, France

Frac Champagne-Ardennes, Reims, France

Images au Centre Collection, Paris, France

Itaú Cultural, São Paulo, Brazil

Moderna Museet, Stokholm, Sweden

Musée d’Art Moderne Grand-Duc Jean, Luxembourg, Luxembourg

Museu de Arte Moderna da Bahia, Salvador, Brazil

Progressive Corporation, Cleveland, Ohio

SMAK, Stedelijk Museum voor Actuele Kunst, Gent, Belgium

Solomon R. Guggenheim Museum, New York, New York

Thyssen-Bornemisza Art Contemporary, Vienna, Austria

Tokyo Roki Co. Ltd., Tokyo, Japan

University of South Florida, Contemporary Art Museum, Tampa, Florida

61

Janaina Tschäpe would like to give special thanks to:

Missouri Botanical GardenParque LageAndrea GreenBruce BurtonTeka SelmanRicardo SardenbergMichael JenkinsVik MunizMina Rosa Muniz TschäpeLauda and Klaus TschäpeHeidi TschäpeChristine Filer Christiane TschäpeDaniela FortesMariana de MoraesFrancisca Carapeba CaldasClarice Falcao Luiza Cavendish Arraes Isabel Falcao Dayane Conceicao Gracy Klen Moreno Rodrigo Sampaio de SouzaJuliana CarapebaFabio GhivelderNatalie Popovic Elizabeth Dahlberg Mosha VaynmanHannah Gruber Danae Mcleod Rebecca WalshHeige KimHannah WhitakerMarco CarusoErika Benincasa

Galleries:

Sikkema Jenkins & Co., New YorkGaleria Fortes Vilaça, São PauloNichido Contemporary Art, Tokyocarlier | gebauer, Berlin Catherine Bastide, Brussels

62

Contemporary Art Museum St. Louis Board of Directors

John Ferring, ChairJan Goldstein, Vice Chair, DevelopmentCarlin Scanlan, Vice Chair, Strategic PlanningAnn Sheehan Lipton, SecretaryBecky Hubert, TreasurerClarence BarksdaleDonald L. Bryant Jr.Bunny BursonJohn Capps Barbara CookCharles CookDavid DienerArnold DonaldDavid DrierShaun HayesMeredith HolbrookJames Jamieson III Nancy KranzbergKimberly MacLeanMarylen MannJoan MarkowLinda MartinezIsabelle Montupet

Donna MoogNeva MoskowitzRuthe PonturoJim ProbsteinEmily Rauh Pulitzer Ann RuwitchPat SchuchardSusan ShermanMichael StaenbergDonald SuggsPat Whitaker

EmeritusEleanor Dewald Terrance Good Joan Goodson

Ex OfficioVincent C. Schoemehl Jr.

63

Contemporary Art Museum St. Louis Staff

Kathryn Adamchick, Director of EducationBrandon Anschultz, Exhibitions ManagerBetsy Brandt, Development AssociateBruce Burton, Graphic DesignerShannon Fitzgerald, Chief CuratorJennifer Gaby, Manager of Public Relations, Marketing, and EventsErinn Gavaghan, Development AssociateAndrea Green, Associate CuratorLisa Grove, Deputy Director and Director of DevelopmentPaul Ha, Director Jason Miller, Facilities Manager/ Assistant PreparatorCole Root, Special Events CoordinatorMike Schuh, RegistrarBen Shepard, Education Associate/Art InstructorKiersten Torrez, Gift Shop ManagerSarah Ursini, Visitor Services CoordinatorRebecca Walsh, Program AssistantMary Walters, Finance Manager

CONTEMPORARYARTMUSEUMSTLOUIS

Documents

Janaina Tschape: Melantropics