430:) was a hotel intervention in which Häussler installed the personal belongings of a traveling woman into a room of a downtown hotel in Leipzig,"Huckepack" - Germany. Germany. Guests were offered an upgrade into this room, if they agreed to share their space with this fictitious person. They were confronted with one of the beds being unmade and a silk-pyjama left on site, one of the towels having been used, an open suitcase with personal items on the dresser, all conspiring to create a virtual, yet tangible physical presence. Although the piece comes with a disclaimer – the guests realize that they are part of an artwork for a night – the intrusion is disorienting and sidesteps confrontation; in the words of curator Klaus Werner: "All attempts to unveil the mysterious stranger lead into autobiography."
227:, Austria. Austria. Focus of the installation was the bedroom that had been filled with thousands of tin cans of preserves, stacked on crude, wooden shelves, each wrapped in thick lead-foil and labeled with their date of expiry. Visitors explored the space unsupervised on their own. " reveals the circumstances of others, without trespassing on their intimacy or dignity. In order to create an authentic representation, has lived in this apartment for half a year. She immersed herself deeply into this unfamiliar space, absorbed the odors of the house, listened to its sounds and adapted her routines to those of the other inhabitants. When the apartment was opened to visitors, fiction and reality appeared superimposed".
355:(2016–2022) presented the life and work of the fictitious French female artist of the early 20th Century, Sophie La Rosière. Chapter I, presented at the Art Gallery of York University in 2016, introduced La Rosière's biography and presented a reconstruction of her studio. Chapter II, presented at the Scrap Metal Gallery in Toronto, examined some of La Rosière's art works through X-ray analysis and presented video interviews with experts about the veracity and provenance of her work. Chapter III, (at Daniel Faria Gallery, Toronto) showed her artworks in their own right. The narrative of Sophie La Rosière was tightly intertwined with real artists of the era such as Madeleine Smith.
317:. Haeussler created Amber, a 19th century Irish immigrant scullery maid, who for many years secretly led a passionate and enigmatic life. A fictitious company called Anthropological Services Ontario (also created by Haeussler) conducted excavations at the historic museum site. Guided tours allowed viewing of the recent discovery of Ambers' personal artifacts which she embedded in beeswax and hid underneath floorboards in the mansion. In 2012, the Art Gallery of Ontario published a book documenting the project, including the controversial visitors responses that ensued about an art work that was initially presented as an historical excavation.
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331:. Haeussler developed the story of a former park ranger who mourned a lost love. In this process he created strange organic looking beeswax objects that resembled corals. The narrative then tells of an investigation by a pest-control company. Ultimately, the company's manager himself becomes so deeply fascinated by the case that he re-enacts parts of the missing ranger's work, combined it with his own interpretations and created a vibrant blog on his company's web-site, illustrating his own psychological reconstruction of a world of human desire, sensuality and loss.
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243:(1995: Piggyback) was a hotel intervention in which Haeussler installed the personal belongings of a traveling woman into a room of a downtown hotel in Leipzig,Germany. Guests were offered an upgrade into this room, if they agreed to share their space with this fictitious person. They were confronted with one of the beds being unmade and a silk-pajama left on site, one of the towels having been used, an open suitcase with personal items on the dresser, all conspiring to create a virtual, yet tangible physical presence.
448:) presented laundry, pillowcases and bed sheets Haeussler collected from institutions – an orphanage, a hospital, a prison – to remove them for a short while from their cycles of use. "Acceptance and the appearance of a human dimension came from an unexpected direction, when the bedridden inhabitant of a nursing home stated: I am proud to have my nightgown shown in an exhibition." Such engagement of participants through their unique biographies is characteristic of many of her works.
406:'s annual festival of the arts, Milano Poesia, curated by Gianni Sassi. "Archivio" showed the process and performance of encasing international daily newspaper cuttings in hundreds of thin slabs of wax and ordering them onto steel shelving. Visitors browsed through the slabs, rearranging them and breaking some. Over the duration of the show the archive was transformed into a collection of disorder. Archivio was reinstalled a year later in
349:. Haeussler revisited her very first apartment installation, inventing a grandson of the original protagonist from "OuTopos – a Synthetic Memory in Vienna in 1989". This new character represented a young survivalist, researching nuclear fallout. Without being noticed by the authorities, he managed to install himself, his belongings and experimental lab-like trailer in an underground garage of the Toronto city-hall.
361:(2017–2022) an extension of the Sophie La Rosière project, this new thread develops the life story of the fictitious character and former lover of the aforementioned. This narrative takes us from France to the United States of America and explores Hasard's artmaking in her own right and the instigation of the intricate relationship of these two women and their historical circumstances. Exhibitions include: "
233:(1993) was Haeussler's first hotel intervention, staged in a three-star hotel near the Cathedral in Milan, Italy. She covered the walls, floor, window and all amenities of a guest room with a thick layer of wax. Visitors obtained the key at the reception for an unsupervised experience of the space. With this work Haeussler "reverses the canon of sculpture, in the spirit of the revolutionary sculptor
410:. The act of encasing objects in wax would remain a theme in Haeussler's work to this date. Examples are stacks of wax-tablets that encase the laundry of children and adults, arranged into constellations of family relationships, or panels of gauze-curtains and dresses in which the fabrics' color and texture shimmers through the enclosing wax matrix; they appear as large, ethereal paintings.
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publicized as an artwork but presented as an assessment by the fictitious "Municipal
Archives". Haeussler intended to facilitate an unfiltered and unhindered experience of discovery. The subsequent disclosure sparked controversy on the ethics of engaging uninformed visitors in an often emotional encounter with a fictional narrative that is initially presented as fact. Canada's
511:. A lush, theatrically furnished show-room held row upon row of framed photographs and very personal stories relating to garments, contributed by Torontonians. Visitors were able to borrow the garments and wear them for a few days, experiencing both literally and psychologically what it is like to "walk in someone else's shoes". This piece loosely built on an earlier project
257:, Germany. These were transformed into different narratives, but remained connected through a single school class photograph, taken in the late 1930s that could be seen in both apartments. Visitors were able to obtain the key to the apartments at nearby galleries (Galerie Huber-Goueffon in Munich, Wohnmaschine in Berlin) and proceeded on their own into the installation.
533:(2017) Curated by Catherine Beaudette & Patricia Grattan, (2017), Bonavista Peninsula Newfoundland. Haeussler showed "Dust at Dawn", consisting of large mylar sheets mounted with double sided tape. The tape holds dust collected from cracks, door and window-frames, lint from carpets, dead flies from the floors of a historic dwelling in the area.
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furnished a spartan room with bed, desk, TV, towels and bottled water, all painted in a uniform light-grey. Visitors registered at the gallery and received the key for one night, to be spent without further direction or observation. "The only cost is to absorb the emptiness." Variations of this theme
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in
January 2015, it offers small edition bronzes of a number of his sculptures and a drawing edition to the public. While the foundation works on digitizing his drawing and sculpture archive, and planning on the dissemination of his work and life, Haeussler states: "the Joseph Wagenbach Foundation is
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Initially she adopted a strategy of erasing herself and the conventions of presenting her work as "art" by creating environments seemingly built up and then abandoned by obsessed individuals (so called outsiders). In more recent projects she includes the process of research and staging into the final
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With her hyper-real installations, she presents the living situations of fictitious protagonists who have arranged their lives somewhere between obsession and art."Synthetic
Memories" is a tag Haeussler applies to her major installations; she sees "synthetic" as opposed to "analytic" in the artistic
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Um ein möglichst authentisches Bild enstehen zu lassen, hat sie selbst ein halbes Jahr in der
Wohnung gelebt. Sie ist tief eingetaucht in die ihr fremde Welt, hat die Gerüche des Hauses aufgesogen, den Geräuschen gelauscht und ihren Lebensstil dem der Hausbewohner angepaßt. Als die Wohnung für das
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visited the assessment, trusting in the veracity of the presentation. She published an essay on her experience, noting that: "She'd had no right to lie to me", feeling anger and loss, yet finally conceding: "The Joseph
Wagenbach I'd created in my mind, nobody could take from me, not even Iris
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and reviewed internationally, this multilayered installation in an entire house in downtown
Toronto "The Legacy of Joseph Wagenbach" – Toronto recounts the life of an aged, reclusive artist, through the mediation of an on-site archivist (often Haeussler herself). Initially, the project was not
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While
Haeussler was trained as a conceptual artist and sculptor, her work is not easily classified by method or genre: she has had solo-shows of sketches, drawings and sculpture as well as participatory, interactive pieces. However her most notable works are large, immersive installations.
147:, Canada. Many of Iris Haeussler's works are detailed, hyperrealistic installations that visitors can decode as narrative stories. Recurring topics in her work include historic, cultural, social and geographic origins; family ties, relationships, memory, history, trauma and obsession.
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under
Heribert Sturm. The loosely structured curriculum emphasized studio work. There were few mandatory courses and emphasis was placed on exploration and experiment, practice and critical discussion. Haeussler's experiments were influenced by artistic positions of
497:, with scientific and educational chalkboard drawings. The project generated controversy, "...because it was made suddenly obvious how tightly the acceptance of an artistic work is still bound to the guaranteed authorship of an artistic personality."
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Some of
Haeussler's projects include the invention of fictitious institutions or corporations that serve as a corporate identity, investigators and presenters of the discoveries before they are identified and labeled as artworks to the public..
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Die
Akzeptanz und das Aufscheinen des Humanen trafen aus einer unerwarteten Richtung. Die bettlägerige Bewohnerin eines Altersheims sagte: Ich bin stolz, daß mein Nachthemd in einer Ausstellung gezeigt
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to deconstruct this "miniature narrative of outrage" and to clarify that the transformation from fact to fiction in the visitor's experience was indeed central to the work. Novelist
416:(1994), a gallery show at the Kunstraum, Munich, Germany contained more than 200 passport-size images of infants, taken between 1905 and the present, juxtaposed with 280 samples of
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marks Haeussler's long-term project, resuming from her 2006 installation and expanding Wagenbach's legacy into a fictitious foundation. Launched officially at the
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process of creating memory from research, ideas and studio-work. Often years in the making, they derive much of their credibility from painstaking attention to
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rovescia i canoni della scultura sull'onda della rivoluzianarie sculture di Medardo Rosso. si pose il problema di superare i limiti intrinseci alla scultura.
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223:– Wien (1989), Her earliest apartment installation recreated the situation of an aged man in a turn-of-the-century social housing project "Ou Topos" in
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the artist had collected from nursing mothers. The installation explored how location, social conditions and history define biographies from day one.
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179:, the Karl-Hofer Prize of the Berlin Academy of Fine Arts and a Kunstfonds Fellowship. In 1999 Haeussler had a guest professorship at the
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263:(2006) was Iris Haeussler's first major work in North America and her largest and most complex installation at that time. Curated by
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454:(1994, 1997, 1998, 2000) was a small series of projects that provided temporary overnight accommodation. The first Xenotop in
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489:. Haeussler sent a non-artist substitute in her place, a scientist who filled the large studio at IASPIS at the
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873:"Welcome to Iris Haeussler: The Sophie La Rosière Project | Iris Haeussler: The Sophie La Rosière Project"
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369:" (2018–2019), both presented at the John Michael Kohler Arts Center in Sheboygan, WI. Followed by the
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183:. She has shown widely throughout Europe in the nineties before moving to Toronto, Canada in 2001.
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Haeussler in one of the rooms of her installation "The Legacy of Joseph Wagenbach" (2006)
918:"Beautiful deceptions: With the Sophie La Rosiere Project, artist Iris Haussler owns up"
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Alle Versuche hinter die Geheimnisse des/der Fremden zu kommen enden autobiographisch.
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Publikum geöffnet wurde, schienen sich Fiktion und Realität gleichsam zu überlagern.
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817:"Daniel Faria Gallery | Iris Häussler: The Sophie La Rosière Project – Chapter III"
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was a response to an invitation to a "Blind Date" with Maria Lindberg, by curators
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Ich war's nicht / it wasn't me – Iris Häussler, Comprehensive catalogue 1989–2001
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Adler, Dan (2009). "Toronto – Iris Häussler – Art Gallery of Ontario / Review".
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578:. Lenbachhaus, München/Mailand: Goethe Institut Mailand and Städtische Galerie.
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503:(2009) was an installation in one of Toronto's most idiosyncratic mega-stores:
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1201:"Inside the Outsider's Mind – Iris Häussler's The Legacy of Joseph Wagenbach"
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ran the frontpage headline "Reclusive downtown artist a hoax" which prompted
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792:"Artist Iris Haussler weaves together art and fiction in Toronto exhibition"
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art: the art of ideas that functions by way of immersion, even ravishment."
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a fictitious foundation of a fictitious artist, but his works are real."
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Gockel, Cornelia (1999). "Die Spur des Gastes, über Iris Häussler. (
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project site with extensive documentation, including a virtual tour
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237:, raises the question of overcoming its intrinsic limitations".
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Max-Pechstein-Förderpreis der Stadt Zwickau 1995: Iris Häussler
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Meyer-Stoll, Christiane (1992). "den Fluß der Bilder anhalten (
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1256:"Iris Häussler at the Kunstraum Munich / Review of Exhibitions"
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Avogadro, Gina (10 June 1993). "La camera di cera è più bella (
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Jäger, Annette (5 June 1993). "Wachs hat keine Endgültigkeit (
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Fuchs, Martina; Christiane Meyer-Stoll; Iris Häussler (2001).
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detail and hyper-realist staging. They are also invariably
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766:"Out There – Iris Häussler The Sophie La Rosière Project"
249:(2000), featured two apartments in two separate cities –
1179:"Honest Ed Was No Artist, but He Sure Can Draw a Crowd"
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in New York (2019) and "Kein Mensch kennt mich" at the
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Transition coat, Übergangsmantel/Płaszcz Przechodni
394:"Archivio" – shelf, on the third day of the project
175:Recognition received include a scholarship of the
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198:
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1289:Frankfurter Kunstverein; Thomas Kumlehn (1999).
899:"On Inventing Women Artists in a Post-Truth Era"
191:notes: "It is an example of what we might label
1490:(in German). Förderverein für instabile Medien.
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574:Matina, Lucia; Meyer-Stoll, Christiane (1993).
507:Department Store, curated by Mona Filip of the
1314:(in German and English). www.buero-orange.de.
1009:Sein Preis dafür ist die Absorption der Leere.
523:, Poland, two cities on opposing banks of the
547:The Municipal Archives, Toronto (no web site)
337:, was commissioned for For "Nuit Blanche" or
1672:with comprehensive descriptions of her works
1524:Magia Naturalis, Mnichovští umělci v Praze (
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1461:Koffler Centre of the Arts (January 2009).
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1532:Kulturreferat der Landeshauptstadt München
718:"He Named Her Amber" – The Grange, Toronto
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1613:Galerie für Zeitgenössische Kunst Leipzig
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402:(1991) was executed over the duration of
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1227:George-Cosh, David (12 September 2006).
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897:Morgan-Feir, Caiomhe (19 October 2016).
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1205:BorderCrossings, A Magazine of the Arts
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1697:Dainel Faria represents Iris Haeussler
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1155:Broverman, Allison (24 January 2009).
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323:, 18th Biennale of Sydney. Curated by
321:He Dreamed Overtime: All Our Relations
177:German Academic Scholarship Foundation
143:artist of German origin. She lives in
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1338:Traces of the guest, on Iris Häussler
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1127:"An encounter with Joseph Wagenbach"
1056:The Anthropological Services Ontario
843:"Madeleine Smith et Pierre Champion"
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550:The Anthropological Services Ontario
335:Ou Topos – Abandoned Trailer Project
108:The Sophie La Rosière Project (2016)
1792:21st-century Canadian women artists
1787:Academy of Fine Arts, Munich alumni
1632:Whyte, Murray (16 September 2006).
1566:Werner, Klaus; Petra Lewey (1995).
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301:(2008–2010) was an installation in
172:as her most important inspiration.
13:
1539:Milroy, Sarah (29 November 2008).
1431:"The Legacies of Joseph Wagenbach"
1361:Goddard, Peter (22 January 2009).
1254:Erdmann Ziegler, Ulf (June 1994).
1229:"Reclusive downtown artist a hoax"
790:Taylor, Kate (30 September 2016).
14:
1803:
1687:Daniel Faria Art Gallery Web site
1662:
1570:(in German). Städtisches Museum
1495:Medicus, Thomas (24 July 2007).
1046:Koffler Centre of the Arts, 2009
916:Whyte, Murray (8 October 2016).
1463:"Iris Häussler: Honest Threads"
1177:Campbell, Meg (10 March 2009).
1078:The Joseph Wagenbach Foundation
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1067:Independent Pest Control Sydney
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556:The Joseph Wagenbach Foundation
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341:Toronto, 2012. and curated by
285:The Joseph Wagenbach Foundation
1678:The Legacy of Joseph Wagenbach
1497:"Robinson Street 105, Toronto"
1348:. Verlag Kunstforum: 274–283.
1112:The wax-room is most beautiful
655:
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515:, 1999, collaboration between
261:The Legacy of Joseph Wagenbach
199:Major Hyper-real Installations
104:The Legacy of Joseph Wagenbach
1:
1767:Canadian contemporary artists
1762:Canadian installation artists
1634:"Homage to a man's faux life"
1086:
943:"Iris Häussler: In the Flesh"
491:Royal Swedish Academy of Arts
436:"On Loan" – Installation view
1574:(Municipal Museum Zwickau).
986:Hotel Leipziger Hof, Leipzig
157:Academy of Fine Arts, Munich
150:
69:Academy of Fine Arts, Munich
7:
1752:Canadian conceptual artists
1720:
1541:"Strangeness at the Grange"
1520:Stemming the flow of images
1484:Iris Häussler – Leihgaben (
1386:"Iris Haeussler, Biography"
849:(in French). Archived from
10:
1808:
841:Nogent-sur-Marne, Mairie.
509:Koffler Centre of the Arts
135:; born 6 April 1962) is a
1549:. Toronto. Archived from
1132:Brick, A Literary Journal
738:AGO site-tour information
353:Sophie La Rosière Project
155:Haeussler studied at the
89:
75:
64:
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30:
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1757:Women conceptual artists
1669:Iris Häussler's Web site
1526:Munich artists in Prague
1482:Kumlehn, Thomas (1995).
1342:Kunstforum International
1293:(in German and Polish).
560:
313:and commissioned by the
281:Haeussler. He was mine".
1429:Kingwell, Mark (2007).
1199:Carson, Andrea (2007).
743:8 December 2008 at the
627:(Gockel, 1999, p. 275)
386:Non-fictional Art Works
132:[ˈiːʁɪsˈhɔʏslɐ]
1589:Werner, Klaus (1995).
1095:Artforum International
821:danielfariagallery.com
479:Institutional Critique
437:
395:
315:Art Gallery of Ontario
112:Florence Hasard (2018)
1404:Wax has no permanence
1157:"Second-hand stories"
977:Erdmann Ziegler, 1994
770:theagyuisoutthere.org
435:
393:
339:White Night festivals
128:German pronunciation:
1782:German women artists
1591:"Die Spur der Orte (
1439:Esse arts + opinions
663:project press review
168:; she herself names
122:(or German spelling
1692:15 May 2018 at the
1469:on 14 February 2009
1409:Süddeutsche Zeitung
1331:on 25 January 2009.
1291:Słubice / Frankfurt
1097:(April 2009): 197.
1019:Fuchs, 2001 (p. 19)
877:sophielarosiere.org
553:Pest Control Sydney
483:Susanne Gaensheimer
371:Apartment 5 project
343:Janine Marchessault
325:Catherine De Zegher
84:installation artist
1649:on 20 October 2012
1619:on 20 October 2007
1546:The Globe and Mail
1363:"(Dis)Honest Iris"
1276:on 1 December 2004
1241:on 30 January 2013
1222:on 10 August 2009.
796:The Globe and Mail
531:Bonavista Biennale
477:(1997) A piece of
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379:Georg Kolbe Museum
299:He Named Her Amber
288:Foundation Website
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1703:Sophie La Rosière
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1593:A trail of places
1234:The National Post
1162:The National Post
1125:Baillie, Martha.
1007:(Werner, 1995 b)
995:(Werner, 1995 b)
700:George-Cosh, 2006
649:(Avogadro, 1993)
193:haptic conceptual
162:Wilhelm Lehmbruck
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80:Conceptual artist
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1732:Installation art
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847:Nogent-sur-Marne
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605:(Kumlehn, 1995)
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517:Frankfurt (Oder)
347:Michael Prokopow
141:installation art
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1712:Florence Hasard
1694:Wayback Machine
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1647:(free abstract)
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1553:on 4 March 2016
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1135:(Summer 2007).
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1028:Broverman, 2009
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583:
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519:, Germany, and
469:Friedrichshafen
388:
359:Florence Hasard
329:Gerald McMaster
216:presentations.
201:
153:
127:
98:– Wien (1989),
90:
60:
57:Friedrichshafen
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1261:Art in America
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1207:(102): 64–70.
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1174:
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501:Honest Threads
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459:were shown in
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365:" (2018) and "
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278:Martha Baillie
265:Rhonda Corvese
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210:off-site works
200:
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181:Munich Academy
152:
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120:Iris Haeussler
115:
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76:Known for
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24:
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16:German artist
1737:Superfiction
1715:project site
1707:project site
1702:
1677:
1651:. Retrieved
1644:the original
1639:Toronto Star
1637:
1621:. Retrieved
1617:the original
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1368:Toronto Star
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1326:the original
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1217:the original
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1130:
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937:
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921:
911:
903:Canadian Art
902:
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880:. Retrieved
876:
867:
855:. Retrieved
851:the original
846:
836:
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795:
785:
773:. Retrieved
769:
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755:Milroy, 2008
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714:
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669:
657:
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645:
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618:Gockel, 1999
614:
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538:Institutions
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187:Philosopher
185:
174:
166:Joseph Beuys
154:
123:
119:
118:
111:
107:
103:
99:
95:
91:Notable work
53:6 April 1962
18:
1777:1962 births
1600:Huckepack (
1505:(in German)
1416:, Germany.
727:Adler, 2009
691:Whyte, 2006
640:Jäger, 1993
505:Honest Ed's
375:Armory Show
367:Apartment 4
363:Tale of Two
1746:Categories
1087:References
487:Maria Lind
311:David Moos
303:The Grange
137:conceptual
49:1962-04-06
1602:Piggyback
1447:0831-859X
1422:0174-4917
1354:0177-3674
1270:0004-3214
1213:0831-2559
1141:0382-8565
1117:Il Giorno
1103:0004-3532
576:Pro Polis
495:Stockholm
442:Leihgaben
428:Piggyback
424:Huckepack
241:Huckepack
231:Pro Polis
151:Biography
100:Pro Polis
65:Education
59:, Germany
1721:See also
1690:Archived
1653:15 April
1623:18 April
1557:17 April
1509:18 April
1502:Die Welt
1473:12 April
1374:17 April
1280:15 April
1245:18 April
1190:12 April
1168:15 April
1146:18 April
927:19 April
882:19 April
857:19 April
826:19 April
801:19 April
775:19 April
741:Archived
452:Xenotope
400:Archivio
247:Monopati
221:Ou Topos
124:Häussler
106:(2006),
102:(1993),
96:ou topos
1609:Leipzig
1572:Zwickau
1486:On Loan
1452:24 June
1391:23 June
521:Słubice
475:Repla©e
456:Leipzig
446:On Loan
444:(1995:
426:(1995:
307:Toronto
145:Toronto
1578:
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1414:Munich
1352:
1318:
1297:
1268:
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1101:
968:, 2001
966:et al.
964:Fuchs
527:river.
465:Munich
408:Prague
255:Berlin
251:Munich
225:Vienna
608:wird.
561:Notes
414:Paidi
404:Milan
1655:2009
1625:2009
1576:ISBN
1559:2009
1522:)".
1511:2009
1475:2009
1454:2010
1443:ISSN
1435:Esse
1418:ISSN
1406:)".
1393:2009
1376:2009
1350:ISSN
1340:)".
1316:ISBN
1295:ISBN
1282:2009
1266:ISSN
1247:2009
1209:ISSN
1192:2009
1170:2009
1148:2009
1137:ISSN
1114:)".
1099:ISSN
929:2017
884:2017
859:2017
828:2017
803:2017
777:2017
736:cf.
661:cf.
525:Oder
485:and
467:and
461:Bonn
345:and
327:and
253:and
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139:and
43:Born
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