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<div align="left"><font size="1" face="Verdana, Arial, Helvetica, sans-serif"><b>Katharina
Fritsch</b><br>
Tate Modern<br>
7 September - 9 December 2020 </font></div>
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<div align="left"><font size="1" face="Verdana, Arial, Helvetica, sans-serif"><i>Man
and Mouse</i><b> </b>1991-2<br>
Polyester and paint</font></div>
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<div align="left"><font size="1" face="Verdana, Arial, Helvetica, sans-serif">Courtesy
of <br>
Sammlung Ackermans</font></div>
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<p><font face="Verdana, Arial, Helvetica, sans-serif" size="1">In the
opening room of this show there are series of paintings based on illustrations
from a 1930's dictionary of folklore. The happy characters in the paintings
gather to dance around maypoles or to take part in seasonal feasts served
on decorated tables. They form a vision of society joined to the past
and to nature, continuing age-old traditions without questioning. </font></p>
<p><font face="Verdana, Arial, Helvetica, sans-serif" size="1">In the
way the scenes are reproduced by Fritsch, clinically painted in black
outline on white plastic, the comforting associations are replayed and
amplified to a degree where they start to unsettle. Somehow we are revealed
as inhabitants of a different kind of world, one built from uncertainty.
</font></p>
<p><font face="Verdana, Arial, Helvetica, sans-serif" size="1">In the
same room is 'Witches House and Mushroom', a small model of a house
without doors or windows but having an unfeasibly high roof , sits alongside
a perfectly formed mushroom. The objects are familiar but in their simplified
forms and carefully constructed surfaces they inhabit a sealed world
of their own. One that is present to us, but impossible to move into.</font></p>
<p><font face="Verdana, Arial, Helvetica, sans-serif" size="1">The skilful
manipulation of comforting associations engendered by objects, motifs
and colours is a continuing strategy throughout the rest of the exhibition.
It looks as though we should be on friendly terms with the objects on
display but this masks a deeper unease which becomes more heightened
as the exhibition continues. </font></p>
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<p><font face="Verdana, Arial, Helvetica, sans-serif" size="1">This sense
of rediscovery is made explicit in Fritsch's referring to objects in
galleries and museums, and in the associations we bring to this class
of objects. In one room we are faced with a massive life-sized model
of an elephant standing on a plinth, in another a row of paintings made
from formica. These are objects that we should know, but Fritsch's </font></p>
<p><font face="Verdana, Arial, Helvetica, sans-serif" size="1">One of
the most Fritsh's most effective works is 'Ambulance', one of series
of sound pieces she made in the early 90's. We walk into into a silent,
empty room. Gradually we begin to</font><font size="1" face="Verdana, Arial, Helvetica, sans-serif">
hear the sound of an ambulance in the distance which gradually gets
louder and louder. At first we are unsure of whether the ambulance is
actually heading towards the gallery, then as we are submerged into
the sound we realise that the sound is actually a recording of an ambulance
played back to us. After 'passing us' the sound of the ambulance subsides
and the siren fades into the distance, leaving us alone in a white room.</font></p>
<p><font size="1" face="Verdana, Arial, Helvetica, sans-serif">Like the
other pieces in this show, this work appears to be from a world that
we know, until Fritsch proves to us otherwise.<br>
<br>
<i>Andrew Lockhart</i></font></p>
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