Fuerchte dich nicht.

En la Hora de la Muerte.

Potentilla Erecta.

Head in the Clouds. Most are bad.

El tamaño de la papa


La luz perpetua

Zum idealen Himmel


The Story has to be told.

Wir hier oben.

M & M





Margarethe Drexel - Most are bad.

Most are bad. - Margarethe Drexel

Potentilla erecta. Mens sana in corpore sano.
2018, installation view. Chimento Contemporary.


Most are bad. - Margarethe Drexel

Wir sind nur Gast auf Erden. (We are only Guest on Earth.)
2018, archival pigment print (3 +1AP), each 60 x 100 cm, framed in oak, 65 x 105 x 3.5 cm


Most are bad. - Margarethe Drexel

2015, pencil on paper, nail, each 25 x 18.2 cm, framed with beech untreated, 26.5 x 34.5 x 5 cm


Most are bad. - Margarethe Drexel

Most are bad. _ Margarethe Drexel

Manifest we see - Manifest for me.
2018, pine, linen, beeswax, bloodroot, screws, thread, 245 x 50 x 20 cm


Never Alone. Great is the Mystery.
2018, paper, print, colored pencil, 31 x 24 cm, framed in oak, 36 x 29 x 3.5 cm
» download booklet
Potentilla erecta. Mens sana in corpore sano.
2018, Chimento Contemporary
Photos: Ruben Diaz
On August 3, 1811, two mountain goat hunters and two silk ribbon fabricants penetrated the pristine white
peak of the Jungfrau for the first time with a black flag. Unfortunately the flag was too small to be seen from
the valley below and so nobody believed them, forcing them to reascend the Jungfrau the following year with
a larger red wax cloth.
Going back to the twelfth century, Augustinian Nuns operated alpine dairies in the Jungfrau’s meadows.
Their nunnery was abolished in 1484 and by the next century the mountain came to connote the virgin purity
of the snow and the ice cloak shrouding the summit. The female corporeality projected onto the mountain
retained older descriptions of Mary, "a chaste birth of the glittering splendor of the glaciers come to light".
The Enlightenment modelled the high Alpine space as primitive and the Jungfrau became an uncivilized
terrestrial area. In the summer of 1887, six mountaineers found their deaths at the Jungfrau inscribing the
mountain with cruelty, "the murderous monster," that destroyed all wanderers “in which all opposites of
life still lie dormant together," "the lurking, enticing kingdom of death”. The Jungfrau became a demoni-
cally seductive woman, the menacing seductress who polarized the sex struggle. The more overwhelming
and majestic the alpine space of uncivilization was formed, the greater the triumph of its conquest.
In the late nineteenth century work began on the Jungfraubahn, "the train into the air" "deeply rooted
in man". To this end a study was commissioned to investigate specific sub-issues of a scientific, technical,
medical and financial nature. Experiments were done on guinea pigs confined with diluted air and balloonists
were consulted on the nature of mountain and altitude sickness.
The dynamite bars used for the blasting work were deep-frozen in the tunnels and had to be thawed to be
ignited. In February 1899 there was an explosion, the "shredded, sometimes still bleeding corpses" were un-
able to be put back together: "We washed them…with clean linen and then tried to adapt the severed limbs
to the corpses. It may well be that confusion occurred and one or the other got a strange leg, a strange arm or
other strange piece of meat instead of his own in the coffin. A very precise excretion was not possible with
the greatest care.”
Potentilla erecta. Mens sana in corpore sano. follows the wanderers to the Jungfrau with a sense for its severed
mythos, a yawning abyss punctured by electric rock drilling machines and maltreated by explosives.