Alexandra Hopf

A Private Collection

Cruise & Callas, Berlin, 2012

(...) One may be left asking what is the desired image for artists today? What roles are available and visible through fashion and or on stage? In post-revolutionary Russia, artists met the demand and challenge to build and make images for the state. Who is producing for whom now? Alexandra Hopf presents the viewer with multiple forms of identity. The identity of the artist is visible through her display of overalls, through her glass paintings of costume design, within the staged context of her film, and as announced in her posters. Translating the language of constructivism into her own she reminds us of how fashion and resulting representations of the self are framed and mediated. On or off stage the roles of the artist are equally real. In this exhibition Hopf portrays the identity of the artist as representing multiple unstable personas, whose roles are interchangeable based on variations from Russia 1922. The artist appropriates the past for the present within her unique futuristic historical language of intellectual production. (...)
Exerpt from Alexandra Hopf: A Private Collection by Annabelle von Girsewald

Watch video

Exhibtion view,
Model Rodchenko, 2012
primed canvas, edition of 3

Exhibtion view

Poster #4, 2012
acrylic, gouache on paper, 98 x 74,5 cm

Poster #17, 2012
acrylic, gouache on paper, 98 x 73,7 cm

Poster #6, 2012
acrylic, gouache on paper, 98 x 73,5 cm

Poster #5, 2012
acrylic, gouache on paper, 98 x 75 cm

Poster #39, 2012
acrylic, gouache on paper, 98 x 75 cm

Poster #40, 2012
acrylic, gouache on paper, 99 x 75 cm

Exhibtion view, The Estate of Alexander Rodchenko (#1-8), 2012
reversed glass paintings, 100 x 70 cm
A Private Collection, video, 2012

A Private Collection, 2012
video, 00:05:17 min.
HD transferred to 16mm, stereo sound

"A Private Collection" is a reconstruction of a 16 mm fragment originally shot by Alexander Rodchenko. The film depicts Rodchenko’s stage design, which was commissioned by theatre director Vsevolod Meyerhold. Newly reworked, the setting is dark, and the camera circles endlessly around architectural elements. It is unclear whether the actual location is a house, a stage set, or if these modernist elements, which emerge and then disappear, represent Rodchenko’s estate. The film explores the themes of private ownership and Rodchenko’s legacy, raising questions about the extent to which an artist can permanently claim their significant contributions and how those contributions can be protected.