Fuerchte dich nicht.

En la Hora de la Muerte.

Potentilla Erecta.

Head in the Clouds. Most are bad.

El tamaño de la papa

Corrección

La luz perpetua

Zum idealen Himmel

L’ACCLIMATATION

The Story has to be told.

Wir hier oben.

M & M

 

 

 

 

Drexel_Margarethe_Fuerchte dich nicht

Prozession verwandelt zum Krieg. Umgekehrt. (Procession transforms into war. Reversed.)
Date and author unknown; oil on canvas, 67.5 x 55 cm

 

Drexel_Margarethe_Fuerchte dich nicht

We belong to the light. - We belong together.
2020, candle wax, Ø 20 cm

 

Drexel_Margarethe_Fuerchte dich nicht

Little Snotty Horse & I’ll be right here.
1989/2015, Bronze, 16 x 7 x 7 cm
2020, booklet, A5, hand-bound, text by Víctor Albarracín Llanos (Original text Spanish with German translation).
Limited edition of 100. Shelf: spruce, 17 x 50 x 3.5 cm

 

Drexel_Margarethe_Fuerchte dich nicht

Two Good Tyrolean Souls
2020, spruce, 50 x 150 x 50 cm; 50 x 120 x 50 cm, iron hook

 

Drexel_Margarethe_Fuerchte dich nicht

Historie einer Sammlung über das Leben (History of a collection about life)
2020, graphite on tracing paper, 21 x 29.7 cm. Framed in spruce, each 27 x 36 x 2.5 mm, corners in beechwood, photo corners, series.

 

Hypericum perforatum. 24th June 2020. Hägerau.
2020, olive oil, St. John’s wort, glass Ø 20 x 15 cm

 

Drexel_Margarethe_Fuerchte dich nicht

Drexel_Margarethe_Fuerchte dich nicht

Torture Wheel Couple. Assembly Kit.
2020, split fireplace brick, 37.5 x 37.5 x 22 cm. Wheels Ø 85 cm x 27 cm; Ø 75 cm x 25 cm. Trees, sharpened, 2.66 m Ø 8.5 cm, 2.45 m Ø 8.5 cm

 

Drexel_Margarethe_Fuerchte dich nicht

Drexel_Margarethe_Fuerchte dich nicht

De-Cure with Consequences. Nailed to the Wall in Rank and File.
2020, shears, pitch, nails, variable dimensions

 

Drexel_Margarethe_Fuerchte dich nicht

E.T. - The Believer.
2020, graphite on linen, black and gold thread; white Gelly Roll pen, marmot oil; 25x34cm. Pineframe, 30x39x2.5cm

 

Drexel_Margarethe_Fuerchte dich nicht

Drexel_Margarethe_Fuerchte dich nicht

Fuerchte dich nicht (Fear not)
2020, linen, wool, iron hook, 147 x 230 cm. Scythe handle, 120 x 20 x 10 cm

 

Man sieht die Sonne langsam untergehen und erschrickt doch, wenn es plötzlich dunkel ist.
(You see the sun slowly setting and yet you are shocked when it‘s suddenly dark.)
2020, shears, pitch, nails, variable dimensions
 
Fuerchte dich nicht (Fear not)
2020, Neue Galerie, Innsbruck
photos: WEST. Fotostudio
 
We must identify the world of antagonistic policies and power relations by which our
bodies are constituted and rethink the struggles that have taken place in opposition to
the „norm” if we are to advise strategies for change.
Silvia Federici: The Body, Capitalism and the Reproduction of Labor Power (2020), S. 10.
 
Using the Tannhäuser font developed in the 1930s, the written words Fear not are emblazoned
above the entrance to the Neue Galerie. “Fear not” is proclaimed by angels in numerous biblical
stories as they encourage the sinner to pass from darkness into light. The dichotomy between light
and darkness, good and evil, pervades all religions and beliefs. An investigation of this polarity also
plays a key role in Margarethe Drexel’s artistic practice.
 
The works of the artist, who lives in Tyrol and Los Angeles, are always interspersed with components
of her own biography. Starting out by examining concepts of faith and morals, Drexel investigates
mechanisms of conquest and subjugation. She draws on the material, pictorial and linguistic worlds
surrounding her – found objects and references from her immediate surroundings, including her family
household and the community in which she was born and raised, which she transposes into the exhibition
space in a cathartic act. Among other things, these personal, often Catholic and mystic narratives and
symbolisms contain investigations into depictions of the Dance of Death (Totentanz von"Elbigenalp, 1840),
rituals of execution like breaking on the wheel (Rädern/Radebrechen, 1500 - 1800), and the American
entertainment industry (E.T., 1982).
 
According to Michel Foucault, the body is constituted within specific regimes of discourse and power,
outside of which it has no materiality. (Foucault, 1983: Sexualität und Wahrheit: Der Wille zum Wissen, Vol. I).
For Judith Butler, Körper sein (being body) means being exposed to creative and formative social forces,
which is why the body’s ontology has always been a social ontology. (Butler 2010, Das Unbehagen der Geschlechter).
Drexel re-exposes herself to these creative and formative social forces in the course of her artistic practice,
deconstructing, experiencing and staging them in the exhibition space. She places intergenerational traumata at
our disposition, searching for strategies with which they can be anchored in the present. In this way, the artist
discloses heteronormative power structures as well as strategies of antagonistic politics, and creates a dialogic space
incorporating an inherent possibility for change.
 
Petra Poelzl, Director Tiroler Künstler:innenschaft, Innsbruck