Olga Hohmann on Agnes Scherer's 'Three Wicked Games' at Salzburger Kunstverein

In a new essay for ArtReview, writer and performer Olga Hohmann reflects on Agnes Scherer's exhibition 'Three Wicked Games' at Salzburger Kunstverein. The installation features large-scale humanoid sculptures made of paper and semitransparent fabric, arranged in open and closed circles on a floor covered with paper depicting water. Hohmann explores themes of inclusion and exclusion, drawing on the Zeigarnik effect, Friedrich Schiller's ideas on play, and Francisco Goya's paintings 'Blind Man's Bluff' (1789) and 'The Straw Manikin' (1791), as well as his etching series 'The Follies' (1815–23). She considers the 'inner circle' of the art world, the politics of belonging, and the uncanny nature of Scherer's figures. The essay is part of the Salzburger Kunstverein x ArtReview Writers Residency, which supports emerging writers. Hohmann, based in Berlin, uses text as both art form and critical medium.