Katharina Fritsch. (exhibit at DIA Center for the Arts)(Reviews) From: Artforum International | Date: November 1, 1993| Author: Rimanelli, David | COPYRIGHT 1993 Artforum International Magazine, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group.Copyright information

Katharina Fritsch's installation 'Rattenkonig' at the DIA Centre for the Arts in 1993 celebrates the rat-king, an evil portent in Northern Europe. She alters scale and uses Pop art strategies. Rattenkonig has 16 king rats radiating from knotted tails to create presence.

Nobody, it seems, likes rats. Mice are cute; rats, just dirty. Stuart Little is a mouse; Templeton, a rat. In the urban cesspool, rats surpass cockroaches as pestilential, borderline-scary nuisances. (Roaches, aft...

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	`Man and Mouse 1991-92' by Katharina Fritsch The Independent - London ; `Man and Mouse 1991-92', one of 18 works by the German artist Katharina Fritsch on show at Tate Modern, London, from today David Rose
	Art: Private View The Independent - London ; Katharina Fritsch to 9 Dec Tate Modern, London SE1 Katharina Fritsch is a fabulist. Many of her figures appear to be refugees from a story by Rudyard Kipling by way of Franz Kafka. Her life-sized elephant is anatomically perfect - except it's green; her giant mouse squats impassively, but on the
	Art: I Know What I Like Duncan Mclaren's Round-Up Of Other Galleries The Independent - London ; Babel Ikon, Birmingham This group show examines some of the triumphs and failures of communication. Thirteen international artists tear into language in an exhilarating way. Kenneth Goldsmith exhibits a 300-page book containing everything he said aloud during a single week. Nearby, Joseph Grigely,
	Katharina's mice and men Katharina Fritsch's art is the stuff of nightmares. Which is why it will be a must-see at Tate Modern, says Claire Bishop Evening Standard - London ; NOBODY in Britain knows much about the German artist Katharina Fritsch, and nor - it transpires - are we supposed to. She spins an air of enigma around her life and work that is worthy of the ageing Garbo, spurning interviews and photographs for "superstitious" reasons. The upshot is that, despite
	Katharina's mice and men; Katharina Fritsch's art is the stuff of nightmares. Which is why it will be a must-see at Tate Modern, says Claire Bishop. The Evening Standard (London, England) ; Byline: CLAIRE BISHOP NOBODY in Britain knows much about the German artist Katharina Fritsch, and nor - it transpires - are we supposed to. She spins an air of enigma around her life and work that is worthy of the ageing Garbo, spurning interviews and photographs for superstitious reasons. The
	Art: Katharina Fritsch The Independent - London ; Katharina Fritsch is perhaps best-known for her ability to invest her artwork with a spooky magnetism. Rat-king (Rattenkonig), from 1993, is based on the myth that suggests a group of rats can become tied together by their tails. Fritsch's giant, 3D rodents are immaculately realised, combining her
	Katharina Fritsch. Artforum International ; TATE MODERN The Tate press packet calls Katharina Fritsch one of the most important artists to have emerged from Europe in the last twenty years ; still, she remains something of a critical enigma. Her familiar forms, derived as much from Disney gift shop as medieval reliquary, exert broad appeal,
	Visual Art: Pick of the galleries - Katharina Fritsch Tate Modern london The Independent - London ; Walking through this show is an uncanny experience, coming across as you do a series of apparition-like installations made by German artist Katharina Fritsch. Most consist of a cast figure (often multiple groupings of the same figure) and little else. In Company at Table, 32 identical life-size
	Even Boston's rats deserve fair treatment The Boston Globe ; What entitles the City of Boston to use leghold traps to catch rats ("Rats! Foiled by Back Bay sanitation squad," Metro/Region, Aug. 3), when the use of such a trap on a wolf or a rabbit would be considered cruel -- or even illegal? Nobody likes rats, but a rat is as deserving of humane treatment
	Katharina Fritsch at Matthew Marks. Art in America ; For her first New York sculpture show in seven years, Katharina Fritsch presented two large, fairly recent installations. As ever, the work finds its genesis in German folktales and symbols pared down to their purest, most minimalistic essence. Perhaps to flesh out the display, the gallery also put

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