What an old Woman Will Wear at the Kasseler Kunstverein: Painting, Language, and Body in Kassel


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When Painting Becomes Language: Tanja Nis-Hansen at the Kasseler Kunstverein
With What an old Woman Will Wear, the Kasseler Kunstverein presents an exhibition that condenses painting, text, and performance into a powerful art experience. The Danish artist Tanja Nis-Hansen showcases 30 large-format oil paintings that together form the acronym GRWM and draw attention to vulnerability, mortality, and the social conditions of the art market.
A Space Between Image, Body, and Concept
The exhibition unfolds a unique atmosphere: colors, inscriptions, and image surfaces encounter each other not as opposites but as a multifaceted form of expanded painting. Language becomes an ornament here, everyday formulas gain a new, reflective depth. It is in this that the aesthetic experience of this show lies: seeing tips into reading, and reading into reflection.
GRWM as a Typographic Landscape
The large-format oil paintings arrange themselves into a typographic landscape, where the letters are not merely read but experienced as physical placements. The work connects image space, surface, and meaning while also referring to the tensions between self-presentation, care, and societal expectations. Tanja Nis-Hansen thus operates in the expanded field of painting and pushes the boundaries between image, object, and performative gesture.
Art Market Under the Microscope
Particularly striking is the accompanying edition of screen-printed T-shirts that refer to precarious working conditions in the art system. In doing so, the exhibition opens a critical resonance space: it speaks not only about the body but also about the reality of production, visibility, and value in the contemporary art field. Historically, the show is located at the intersection of conceptual art, feminist imagery, and contemporary painting.
The Kasseler Kunstverein as a Space for Contemporary Art
Founded in 1835, the Kasseler Kunstverein stands for the mediation of contemporary art and for a curatorial approach that makes experimental positions visible. In the spacious exhibition space at the Fridericianum, a precise framework is created for a work examination that focuses on materiality, spatial effect, and layers of meaning. Those interested in current painting, art education, and cultural education will find a place of high relevance here.
Conclusion
What an old Woman Will Wear promises a wise, sensual, and intellectually stimulating exhibition about body, language, and the fragile inner life of contemporary art. Anyone who wants to experience painting not just visually but physically in space should definitely visit this exhibition live.
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