Lynne Cooke at Artforum:
In 1988—that is, before any hallmark style threatened to dominate her practice—Trockel identified the “constants” that fueled her protean vision as “woman, inconsistency, reaction to fashionable trends.” Woman, broadly speaking, is the focus of three of the remaining four galleries on level one. Devoted mostly to the artist’s early years, the trio of dark, densely installed rooms include numerous canonical works featuring such key motifs as blown eggs, hot plates, and corporate logos. Consider Sabine, 1994, a digital print that depicts a naked brunette in sunglasses poised precariously on a small stove in a humble kitchen. Rhyming her subject’s pose with that of the Crouching Aphrodite, Trockel injects a mordant note into the misogynistic scenario. When installed at the MMK at the apex of a tall triangular gallery, Sabine literally acts out its governing thematics: constraint and confinement. The video Mr. Sun, 2000, projected on a hanging screen nearby, is more abject: As the camera crawls lasciviously over a gleaming stove, Brigitte Bardot’s voice croons, “Stay awhile, Mr. Sun.” Dominating the adjacent wall is a large knit painting, Made in Western Germany, 1987, the eponymous anglophone trademark repeated serially across its surface. Coined in 1973 to guarantee the high quality of products manufactured in the FDR (as opposed to the GDR) for an international market, the logo symbolizes the Wirtschaftswunder, the postwar economic miracle during which Trockel came of age in the Rhineland.