Miriam Cahn Presents New Domestic-Focused Exhibition 'STILL LEBEN' in Paris

Miriam Cahn's exhibition 'STILL LEBEN' at Galerie Jocelyn Wolff in Paris represents a significant evolution in her artistic practice. Running until April 25, 2026, this presentation features recent works created primarily within the past few months that mark a departure from her previous themes. Unlike earlier pieces that often depicted bodies and violent contrasts, these new works focus on domestic interiors, everyday objects, and what the artist refers to as 'le ménage' (household management). The exhibition includes small to medium-scale paintings and drawings that explore the physical relationship between objects and the body, though human forms are largely absent. Cahn presents ordinary items like tools, furniture, clothing, and household goods without symbolic or metaphorical interpretation, instead emphasizing their direct connection to women's daily lives and domestic labor. The artist describes this approach as capturing 'Einmaligkeit'—the unique quality of everyday objects that constitute our interior worlds. While some works include subtle gender indicators like handbags or sanitary pads, others feature gender-neutral items such as glasses or ladders. Cahn's technique varies across media including canvas paintings, works on wood, and drawings in pencil, charcoal, and pastel, yet maintains visual consistency through egalitarian composition. This exhibition follows her November 2025 show 'TRAUMBEFEHL' at Galerie Meyer Riegger in Berlin, which addressed themes of aging and physical decline. In interviews, Cahn has connected these domestic scenes to broader social issues, mentioning being affected by images of displaced families carrying their household possessions while fleeing conflict. The artist describes this body of work as concentrating on what is literally within reach, using painting to reveal external realities through interior spaces. One notable piece depicts a hand holding an iPhone with a blank screen, prompting questions about contemporary image creation and transmission. Cahn characterizes this exhibition not as avoidance of difficult subjects but as a method of examining them through different perspectives.