In Collapsed Time, Christina Quarles (Chicago, 1985) shows an installation that occupies the entire exhibition space and exhibits her paintings alongside works from the Nationalgalerie collection.Quarles confronts several decades of diverse forms of artistic practices, from photography and sculpture to video and performance, that have dealt with notions of physical and psychological confinement, and their impact on the representation of the human body. The formal language of Quarles’ paintings explores the experience of living in a racialised, queer body. Her figures contend with the boundaries of identity, as they intervene with complex patterns and planes.The catalogue features a curatorial essay by Sam Bardaouil and Till Fellrath, an extended interview with Christina Quarles and a contribution by Jillian Hernandez, Associate Professor at the Center for Gender, Sexualities, and Women’s Studies Research, University of Florida, USA.Text in English and German.

In Collapsed Time, Christina Quarles (Chicago, 1985) shows an installation that occupies the entire exhibition space and exhibits her paintings alongside works from the Nationalgalerie collection.Quarles confronts several decades of diverse forms of artistic practices, from photography and sculpture to video and performance, that have dealt with notions of physical and psychological confinement, and their impact on the representation of the human body. The formal language of Quarles’ paintings explores the experience of living in a racialised, queer body. Her figures contend with the boundaries of identity, as they intervene with complex patterns and planes.The catalogue features a curatorial essay by Sam Bardaouil and Till Fellrath, an extended interview with Christina Quarles and a contribution by Jillian Hernandez, Associate Professor at the Center for Gender, Sexualities, and Women’s Studies Research, University of Florida, USA.Text in English and German.