Hans-Jürgen Hafner

 Rosemarie Trockel, Always Leave Them Wanting More , 2009. © Rosemarie Trockel and VG Bild-Kunst, Bonn 2022

Rosemarie Trockel, Always Leave Them Wanting More, 2009. © Rosemarie Trockel and VG Bild-Kunst, Bonn 2022

While its staging of 300+ works by Rosemarie Trockel is unparalleled in its comprehensiveness, a retrospective at MMK, Frankfurt fails to contextualize Germany’s best-known woman artist.

Daniel Richter, assistant to Albert Oehlen
Erfindung des guten Irrtums, 2013
Oil on canvas
Courtesy Contemporary Fine Arts, Berlin, © Bildrecht, Wien 2013
Photo: Jochen Littkemann, Berlin

Artists’ assistants are omnipresent in the art business. Yet, as a rule, they are all but invisible. Ever nameless they disappear from view in artists’ studios; their work is absorbed into their employers’ production and their independent creative participation in the works is subsumed by the artistic “brand” they have helped to form. However, things do seem to be changing. Not only has “Artist’s Assistant” become a recognized occupation, but assistants are starting to emerge from their anonymity and raising their profiles as artists in their own right. Hans-Jürgen Hafner sketches out the situation.

 Ernst Ludwig Kirchner, Philipp Harth, Pablo Picasso; © bpk / Staatliche Museen zu Berlin, Zentralarchiv

Ernst Ludwig Kirchner, Philipp Harth, Pablo Picasso; © bpk / Staatliche Museen zu Berlin, Zentralarchiv

Are the origins of the museum of contemporary art perhaps to be found in Berlin?