Kussbilder, 1992 / 2018

What would Germany be at night without Bild’s reporters, always ready to forgo sleep so the breaking news of the day is waiting when we wake up in the morning. In 1992, neo-Nazis were marching and refugee shelters were burning in Germany. Ever undaunted, the Chemnitz edition of Bild ran a headline that encapsulated what really mattered to people: “Asylum applicants now in schoolyards. Two more are coming every minute.” What’s there left to say? Alice Creischer unceremoniously gave the paper 150 kisses until it was so densely covered with red lipstick prints that it was almost illegible. “Kiss the fascists wherever you meet them!” the poet Kurt Tucholsky wrote in 1931. A few weeks ago, Creischer got back into the kissing game. Seehofer, Maaßen—one could kiss Germany all day and all night and still want more. *

Was wäre Deutschland in der Nacht, würden nicht Bildreporter sich um den Schlaf bringen, um uns am Morgen mit dem Wichtigsten des Tages zu versorgen. 1992, als in Deutschland Neonazis aufmarschierten und die Flüchtlingsheime brannten, titelte die Chemnitzer Ausgabe von Bild, was das Land bewegte: „Asylanten jetzt auf Schulhöfe. Jede Minute kommen zwei neue.“ Das hatte Schmiss. Was soll man dazu noch sagen? Alice Creischer küsste kurzerhand die Zeitung rund 150 mal, bis sie übersäht mit rotem Lippenstift kaum mehr lesbar war. „Küsst die Faschisten, wo ihr sie trefft!“, dichtete Kurz Tucholsky 1931. Vor einigen Wochen fing Creischer mit dem Küssen wieder an. Seehofer, Maaßen, ach, man könnte gar nicht mehr damit aufhören, Deutschland zu küssen. *

Alice Creischer, Kussbild, 2018, lipstick on newspaper

Alice Creischer, Kussbild, 1992, lipstick on newspaper

Lipstick on newspaper
* excerpt from Alexander Koch about Alice Creischer's Exhibition at KOW 2018

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Alice Creischer

**WIDERLEGUNG DER GESCHICHTE VON ANTEK PISTOLE, 2021**

**Solo Exhibition at Culturgest Lisbon, 2017**

**Proudhon, die Gesellschaft des 10. Dezember und der Club der faulen Debitoren, 2000-2015**

**In the Stomach of the Predators, 2012-2014**

**Das Etablissement der Tatsachen / The Establishment of Matters of Fact, 2012**

**Auf einmal und gleichzeitig. Eine Machbarkeitsstudie. Musikalische Szenen zur Negation von Arbeit, 2007**

**Apparat zum osmotischen Druckausgleich von Reichtum bei der Betrachtung von Armut / Apparatus for the Osmotic Compensation of the Pressure of Wealth during the Contemplation of Poverty, 2005-2007**

**Atlas 2003 ongoing (Updating the Arntz and Neurath Atlas) in collaboration with Andreas Siekmann**

**Eine Flussfahrt wie am Tellerrand / A Boat Trip Around the Edge of the Plate, 2003**

**Feindesliebchen / The Enemy's Sweetheart, 2002**

**Episoden zur arbeitsbefreiten Gesellschaft / Episodes of a society free of work, 1996-2002**

**The Greatest Happiness Principle Party, 2001**

**L'Atelier de la peintrice / The Woman Painter's Atelier, 2000**

**Arbeitsplatzprojektionsmaschine, 1998-1999**

**Gruppe Gummi K - Wie Eins zum Andern Kam..., 1996**

Biography

Alice Creischer, born in Gerolstein in 1960, studied Philosophy, German literature and Visual Arts in Düsseldorf. As one of the key figures of German political art movements in the Nineties, Creischer contributed to a great amount of collective projects, publications, and exhibitions. Her artistic and theoretic agenda within institutional and economical critique has evolved over 20 years, more recently focusing on the early history of capitalism and globalization. As co-curator of such paradigmatic exhibitions like Messe 2ok (1995), ExArgentina (2004) and The Potosi Principle (2010), Creischer has developed a specific curatorial practice that correlates with her work as an artist and theorist, including her extensive practice in archive research. As author Creischer has contributed to many publications, magazines and fanzines. She has been awarded a few prizes throughout the years, most recently of the Günther-Peill-Stiftung (Düren, 2018). She has hold solo exhibitions at institutions such as Stadtgalerie Wedding, Berlin (2019), Culturgest, Lisbon (2017), ifa Galerie, Berlin (2013), MACBA, Barcelona (2008) and secession Vienna (2001). Her work has been shwon in group shows at Haus der Kulturen der Welt, Berlin (2022, 2021, 2019, 2017), Künstlerhaus Bethanien (2021), LWL Museum, Münster (2021), Gropius Bau, Berlin (2019), Van Abbe Museum, Eindhoven (2018), Museum der Moderne, Salzburg (2016), ludwig Forum aachen (2015) among others.

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