Marion Baruch: A Leap into the Void

By Martin Herbert

Marion Baruch and A.G.Fronzoni, Contenitore-Ambiente, 1969, Plexiglas, dimensions variable. Photo: Berengo Gardin. Courtesy Marion Baruch and A. G. Fronzoni Marion Baruch, Echo de mer et de soleil, 2016, fabric,188×406 cm. Photo: YannHaeberlin. Courtesy the artist and Galerie Laurence Bernard, Geneva Marion Baruch, La tartaruga, 2016, fabric, 44 × 167 cm. Photo: Yann Haeberlin. Courtesy the artist and Galerie Laurence Bernard, Geneva Marion Baruch, Name Diffusion, 1993 (installation view, Business Art/ Art Business,1993, Groninger Museum, Gronigen). Courtesy the artist Marion Baruch and A.G.Fronzoni, Abito-Contenitore, 1970, fabric, dimensions variable. Courtesy Marion Baruch and A.G. Fronzoni Marion Baruch, Mister Horror (L’Éternel Retour), 2015, fabric, dimensions variable. Photo: Alexander Hana. Courtesy the artist and Bolte Lang, Zürich

In the sunny nook of a glass-and-steel modernist villa outside Milan that serves as her modest live-in studio, while a fox-faced blonde dog called Gipsy prowls around, Marion Baruch is describing a revelatory encounter with a sack of discarded fabric. She got it from a man she met in a pizzeria who worked in the Italian fashion industry (for Gucci et al), and it contained the negative space of style: unwanted cloth left over once the shapes for haute couture…

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