In Renz’s solo show 'Molly Moldedet' (2019, Dresden), the artist dealt with Israeli, Palestinian and German history and their different understandings of ‘home’, homeland and Heimat – using different artistic genres, media and techniques as a logical consequence. In a wider sense, the show also continues the historical debate within modern and contemporary art on the nexus of art, the (absent) need of commentary and home(lessness)/(un)settledness.
The decisive factor in this artistic game is the technique of collage – a technique that is quite characteristic for Renz’s artistic practice. Renz elaborates the initially two-dimensional technique to include found footage, ornamental forms and her own inventive visual elements combining them with works of fellow artists in her show. These exhibitions within the exhibition make the issue of authorship relevant and complicated like the newspaper fragment once did in Cubist paintings.
Dealing with early Zionist posters and Socialist propaganda, soccer and right-wing extremism, baroque popular piety and contingency (represented by a game of dice) in 'Heimspiel', Renz is thus interlacing divers understandings of politics, religion and cultural forms, and the congenial artistic genre to do this is the extended collage as the chosen medium for the problems addressed.