\u201cAn exhibition couldn\u2019t be more current. The visitor is confronted with an uncomfortable reality, namely a power, which doesn\u2019t end according to \u201cTatort\u201d or Swedish crime fiction, but which endures globally and claims victims. The show captivates because of its compressed and intense statements. And it stirs you up. It is quite the opposite of detached.\u201d
\nMichael Hierholzer, Frankfurter Allgemeine Zeitung, February 18, 2016<\/u><\/p>\n
\u201cOne artist scrutinizes the boundaries of the exhibition space, while the other explores the limits of her own body. But it is always the exertion of immense pressure \u2013 right up to the point of snapping.\u201d \u201cRegina Jos\u00e9 Galindo, a petite woman of 41 years of age, creates political art without compromises. [\u2026] The title of the exhibition, \u201cMechanisms of Power\u201d could not be more appropriate. Her slightly older colleague, Arcangelo Sassolino, presents similarly furious intentions but an entirely different voice.\u201d \u201cThe double exhibition at the Frankfurter Kunstverein attacks its visitors. [\u2026] It is spectacular and subtle at once. And it forces the viewer to leave the safe shelter of symbolic signs and actions. It is an imposition, with which Franziska Nori, director of the Frankfurter Kunstverein, has brought this institution back to the top.\u201d \u201cThe risk of destruction accompanying perfectly built machines and a body, which time and again makes visible political power. \u201cMechanisms of Power\u201d is intense, because it\u2019s unsettling.\u201d \u201cAn exhibition couldn\u2019t be more current. The visitor is confronted with an uncomfortable reality, namely a power, which doesn\u2019t end according to \u201cTatort\u201d or Swedish crime fiction, but which endures globally and claims victims. The show captivates because of its compressed and intense statements. And it stirs you up. It is quite the opposite of …<\/a><\/p>\n","protected":false},"author":1,"featured_media":6239,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"mc4wp_mailchimp_campaign":[],"footnotes":""},"categories":[1],"tags":[],"class_list":["post-14540","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/posts\/14540","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/comments?post=14540"}],"version-history":[{"count":0,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/posts\/14540\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/media\/6239"}],"wp:attachment":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/media?parent=14540"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/categories?post=14540"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/tags?post=14540"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nTamara Marszalkowski, Journal Frankfurt online, February 18, 2016<\/u><\/a><\/p>\n
\nChristian Huther, Frankfurter Neue Presse, February 19, 2016<\/u><\/a><\/p>\n
\nRudolf Schmitz, HR2, February 23, 2016<\/u><\/p>\n
\nIsabel de la Vega, 3sat, Kulturzeit, February 22, 2016<\/u><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"