29 October 2015


Hale Tenger, We didn't go outside we were always on the outside We didnt go inside; we were always on the inside 1995-2015, Galeri Nev, Istanbul, Green Art Gallery, Dubai, Protocinema, New York photo, Vehbi Dileksiz Installation by Hale Tenger "We didn't go outside; we were always on the outside. We didnt go inside; we were always on the inside 1995-2015", Galeri Nev, Istanbul, Green Art Gallery, Dubai, Protocinema, New York / photo © Vehbi Dileksiz

American Curator and art manager Mari Spirito is one of Istanbul's most active persons in art world, always organising different projects at the same time and traveling to a other countries frequently. Dedicated to encouraging careers for emerging artists and curators, she is currently the consultant for Art Basel's "Talks Program" and has previously lived in New York, where she was director at 303 Gallery. In 2011, Mari initiated her own project Protocinema – an art organisation that connects cities such as New York and İstanbul, through educational programs, exhibitions and various collaborations. One of her newest, self-initiated endeavours is the temporary exhibition series Proto5533: A collaboration between Protocinema and the Istanbul-based artist-run-space 5533, displaying emerging curators and artists. I met Mari in Istanbul's district Çukurcuma, where we had coffee on the rooftop of a historical building. She told me about Protocinema, its goals and why she chose Istanbul as a base.

21 October 2015


Billy Rennekamp_houston in the blind
all works © Billy Rennekamp

Visting the Neukölln-studio of 1988-born US artist Billy Rennekamp reveals his intense passion for sports, rules and any kind of game, which he integrates and manipulates in every work that he produces. Balls, sticks, boards and countless props are spread all over the place. The space smells of rubber and leather. I talked to him about material fetishism, the shift from digital to physical art and, obviously, why he is playing games.

13 October 2015



What's hot? A question that we might hope to find resolved at every biennial, art fair or art week that we attend. But what's hot today might be over by tomorrow. And: who decides what's hot, anyway? Yvonne Reiners, a curator and researcher running the performance series Performing Encounters that re-imagines formats of encounter and discussion; and Tina Sauerländer, a curator and writer, who has been organising numerous exhibitions under the label peer to space, jointly organised the upcoming Pecha Kucha Art Night at Haus am Lützowplatz in Berlin. The event will ask this very question amidst a couple of professionals from different disciplines, such as the art historian Annika von Taube, the art dealer Volker Diehl or the publisher Uta Grosenick. I asked the two organisers, why they felt the need to pose this question.

28 September 2015


Buşra Tunç "Sinusoid" (2014), interactive light installation, "WAVES" exhibition at BLOK art space; photo © Rayna Teneva

Istanbul-based curator, art writer and sociologist Ebru Yetişkin embeds her practice in-between science, technology and art. Born in 1976, she studied Communications and Radio-TV-Cinema at Istanbul University and Science, Technology and Society at Université Louis Pasteur and the Istanbul Technical University. Her PhD in sociology was entitled “Nettachmental Thought: Problematisation of Social Sciences through Quotidian Practices” and has led to her current teaching in Sociology and Media at Istanbul Technical University and Isik University. Specialised in the overlapping of science, technology and art, she researches at the International Association of Contemporary Art Critics in Turkey (AICA). Focusing on new media art, she curated the exhibitions "Cacophony" in Açıkekran New Media Art Gallery, "Code Unknown" in 42Maslak and "WAVES" in BLOK art space. For this year's Plugin show "X-Change" – the new-media art section at Contemporary Istanbul Art Fair – Ebru has been appointed curator and told me about her curatorial approaches, algorithms, about organic and technological bodies and about her ideas on mutation and revolution.

28 August 2015


1a_by Florian Meisenberg all images: works by Florian Meisenberg, © Florian Meisenberg, courtesy the artist, Kassler Kunstverein and his galleries Wentrup, Berlin; Simone Subal, NYC; Mendes Wood, Sau Paulo; photos by Joerg Lohse, NY; Sebastian Bach, NY; Anna Arca, London; Trevor Good, Berlin; Nils Klinger, Kassel; Bruno Leão, São Paulo; Gui Gomes, São Paulo

The offline and the online world merge with German artist Florian Meisenberg. Using the media of paint, performance, installation and video, his work reflects the variety of skills that he experienced throughout his life:  Florian first studied media design, until he eventually entered the art academy in Düsseldorf and studied with Peter Doig. Whilst being intensely sincere about formal and critical concepts behind his work, he openly discusses what moves and motivates him.

Originally born in Berlin in 1980, Florian moved to New York in 2010 with his girlfriend and collaborator Anna K.E., who also studied at the art academy in Düsseldorf, since then sharing a studio in Bushwick. Not only a team in private life, Anna and Florian often create work together and approach each others practice both aesthetically and conceptually. But also from a more general perspective, the subject of intimacy is a coherent theme in Florian’s work, expressed in both physical and digital relations of beings and objects. While his unique instalments and performances, for example at Kassler Kunstverein or Kölnischer Kunstverein, often relate to the composition of screens, appropriating a digital aesthetic of pop-up windows, manuals and simultaneous data-streams, his videos incorporate corporeal affection.

Over the course of half a year, Florian and I messaged each other questions and answers, discussing his practice between the digital and the analogue, his fascination for the Internet, for exchange and for digital jet-legs.

28 July 2015


all works © Marco Stanke 

Is it a painting? Or an object? The works of Nuremberg based artist Marco Stanke aim at liberating painting from its traditional limitations and transferring it into space. But in order to be acknowledged as objects his Parts are cleaving too closely to the painterly, whereas their battered and extensive shapes make it hard to let them pass for paintings. Marco Stanke’s works were displayed at the Galerie Haas in Ingolstadt from April to June 2015, as part of the group exhibition YOUNG BLOOD. A few days ago he was awarded with the Kunstpreis der Nürnberger Nachrichten for his Kollektiv, shown in the associated exhibition at the Kunsthaus Nuremberg until the 6th of September. I spoke to Marco about his cross genre approach, which leads not only into the three-dimensional but also into the musical space. 

22 July 2015


Lars Bjerre_The Robbery (Crown Jewels) 1, Oil, pigment, oil pastel & spray on printed canvas. 185x135x4 cm. Oak frame (188x138x4 cm). 2015© the artist
all works © Lars Bjerre "The Robbery", courtesy the artist and Hunter/Whitefield, London

Looking at the work of Danish artist Lars Bjerre, one will not only notice the versatility and beauty of his detailed depictions, but will also come to realise that there is a golden thread that has been running through his paintings and installations over the years: A history of storytelling. Also his most recent series "The Robbery", which is currently on display in London at the recently opened gallery Hunter/Whitfield, reminds of a cinematic story-board. Five large paintings show a selection of fictive planning scenes, a blue print of the Tower and aesthetically flashy details of the loot and its countless diamonds – the British Crown Jewels – evoking a narrative through the images. Inspired by crime films and the figure of the anti-heroe, the artist's paintings create scenes, with surfaces between neatly applied and extremely smudged gestures. 

Although Lars changes the themes with each new series that he begins, they always incorporate a mise en scène: motifs, such as hunting trophy pictures ("Hunter's Delight") or brawls inside parliament buildings ("Angry Men") are repeated, manipulated and contrived into the dramaturgy of an act. Stage elements, spatial arrangements and objects turn his exhibitions into theatrical installations. But how important is the plot to the artist himself? What is behind these stories? These were some of the questions I asked the Berlin-based artist before his opening in London. 

18 July 2015


punk music_artfridge_15_UDK_Rundgang7969
Punk concert  in the hallway of UDK
 all works courtesy and © the artist, all photos © artfridge

The greek "OXI" – NO! – vote was something of a revolutionary credo embracing this year's annual degree show opening at Universität der Künste Berlin. Live punk music blasted through the hallways that were crowded with confused visitors, who wondered "where is the art"? The art was locked down. A loyal gesture to some of their professors, all students had previously decided to raise attention to corrupt professor deals by keeping their doors shut and not letting any guests enter the studio spaces during the opening night. Despite their hope to be picked up during the Rundgang, most students unanimously agreed to the collective act. The protest emphasises the position of a majority of students, who argue that the academy's hierarchical administration structures and their sweetheart deals with famous artists and their friends would not benefit their educational system. The flip side, they say, is that many lesser known guest professors receive unfair and bad paid short-term contracts that wouldn't even cover their insurance costs during the holiday period.

14 July 2015


drawaline-daniel-jackson-23 drawaline-daniel-jackson-7
all images copyright Daniel Jackson, courtesy PSM gallery and the artist

Born in 1972, Daniel Jackson grew up in Texas, where he enjoyed punk rock records, captured his surroundings with his camera and bought lifestyle magazines that sparked his curiosity in big cities and in the arts. In New York, where Daniel took a MFA in painting and lived for seven years, he began developing an aesthetic language dedicated to the discovery of seemingly unspectacular moments and gestures in everyday life. Terrified by the attacks of 9/11, a former girlfriend brought the artist to Germany, where he would eventually settle in Berlin.
Daniel pursues an experimental artistic practice using various media. He applies techniques from painting, printing, sculpting, photography, and video art. The Berlin based artist is influenced by social media aesthetics, elements of design and, in particular, by science fiction, while also confronting himself with existential themes, such as the fear of failure. I talked to the artist about his his inspiration, the discovery of patterns and boredom in Texas.

2 July 2015


Anders Dickson_featured on artfridge.de
work by Anders Dickson, courtesy the artist

Anders Dickson is a 1988 American-born artist who has been based in Germany for the past five years. Having previously studied Philosophy in The States, he is now a student of Monika Baer and Amy Silman at The Städelschule Frankfurt. While Dickson works in several mediums, his dreamlike subjects and unique use of colour make his pieces pervade a sense of the supernal. Inspired by elements of American culture; from Herman Melville’s Moby Dick, to the Native American figure of the ‘Trickster’, the artist balances elements of mythology, philosophy and nature in order to confront the mystery of human identity in contemporary society. Dickson’s work is currently on view as part of a group show ‘Der zweite Blick’ at Galerie Scharmann & Laskowski in Cologne.

23 June 2015


Tobias Buckel_Cache_2015_acrylics-glue-canvas_50x40cm
all works by Tobias Buckel, courtesy the artist and Peter von Kant gallery, London

The German artist Tobias Buckel uses the medium of paint to decipher its own codes: His works negotiate both the functions of space and of displays, often referring to the painted image as an instrument (and not only as an object) of representation. This is particularly interesting, since he studied communication design previous to his education in art in Nuremberg and at Chelsea College of Art and Design in London. Tobias' trained eye for graphical and architectural aesthetics, sharp lines or perspectives have a large impact on his practice and the work's overall appearance. While three dimensional and geometric shapes, and flat cubes dominate the motifs, they appear in both abstract and representational forms. These are often washed down and thin layered, superimposed and eventually merged into each other like a jigsaw. I spoke to the Nuremberg-based artist, who has an exhibition opening this Friday the 26.06 at Peter von Kant gallery in London, about his inspiration and his idea of abstract qualities.

4 June 2015


exhibist magazine
exhibist Magazine, and Anna Zizlsperger photo © Mine Kaplangı

Whilst having grown up in Munich, Germany, Anna Zizlsperger has lived in Istanbul since 2011. She is the founder and editor-in-chief of the Istanbul-based art magazine exhibist – one of the few contemporary art magazines printed in english language in Turkey. Its theme-based content, its unique design and its integrated art guide have contributed to establishing the art magazine as the most popular one in city.

Having studied Islamic Art History and Modern and Contemporary Art, Anna especially focussed on critical writing and curating. She has worked at several institutions, such as Musée d’Orsay and Bonhams Auctioneers, assisting on projects at Haus der Kunst, while also working as an editor and writer, from Weltkunst to Giunti Editore and Phaidon Press. In our interview Anna Zizlsperger told me about her magazine, about the future of printed publishing and about her view on Istanbul's art scene. 

15 May 2015


© Julian Stalbohm_INT-PIC-FJD-2
Julian Stalbohm, FICTION JEST DEBACLE, 10.04-23.05.2015 at Ginerva Gambino, Cologne © Julian Stalbohm, courtesy Ginerva Gambino, Cologne

Two weeks ago, news about the second royal hit all the headlines in England and put an end to the country's buzzing speculations about its name, its hair colour or the length of Kate's stay in the hospital. These so-called "Novelty Bets" – referring to a gambling system that allows betting on practically everything imaginable in the near or far future – are the central tool in the current show of conceptual artist Julian Stalbohm: Placed and documented throughout the last year, he approaches the subject of speculation and chance by juxtaposing magnified prints of betting slips that reveal both a handwritten bet and the respective, often absurd, odds. While all slips are presented on a grid behind the obscured window of Ginerva Gambino gallery, the artist built a small stage inside the space and placed three dough-based figures on the ground. Both the dough objects and the betting slips share one characteristic: their outcome is unpredictable.

Julian's show "Fiction Jest Debacle" negotiates the social process of constructing of truth – it speaks of the wish to participate in the fate of life and of chances. I spoke with the 1980-born artist, who studied in Malmö and now lives both in Sweden and in Berlin, about gambling, numbers of sex hotlines, false promises, and the persistent wish to be in control of things – to be a stockholder of the future.

4 May 2015


10_04_15 VE CampoSStefano_MicheleByRosa simone_settimo
Portrait of Michele Drascek, photo by Rosa Lux; Construction site, installing UTTER at Arsenale- la Biennale di Venezia, photo by JAŠA 

The subject of the upcoming exhibition at the Slovenian Pavillion for Venice Biennale is bombastic: Hope, and its creation through the power of cooperation is what the Slovenian performance artist JAŠA, the Italian curator Michele Drascek and a large group of other collaborators are aiming to achieve with their exhibition. Staged in a two floored architectural wooden construction, their joint project "UTTER. The violent necessity for the embodied presence of hope" is a durational performance that will proceed from the 9th of May until the 22nd of November 2015. Involving music, visual and performance-based elements, the choreography of the project will be repeated 28 times within a strict weekly plan – something that they call 'a structured act of discipline'. And although each participant produces a creative output, the project centres entirely on the communication with the public and the spectators. I spoke to Michele Drascek about the ambitious project, about his personal motivation and his hopes.

24 April 2015


Mia Boysen_Vorhang_III Mia Boysen_Vorhang_VIII All works are photographs © Mia Boysen; courtesy the artist and Mirko Mayer / m-projects, Cologne

Mia Boysen is a German photo-artist whose works elegantly address the physical and psychological allure of consumer culture. Currently based in Cologne the 1985-born artist was brought up in Johannesburg, South Africa where she studied at The Wits School of Arts. Following her Bachelor degree she moved back to Germany and in 2013 studied a Masters at the Academy of Media Arts Köln (KHM). Her new series of photographs ‘Plastic Manisfestations’ was previewed at Mirko Mayer/M-projects last month, and centres on close-up photographs of plastic curtains. Boysen spoke to me about the production mystery, about fetishism and about the reasons why curtains and displays are the major motifs in her work.

19 April 2015


Art Cologne 2015 Art Cologne 2015
Rainald Schumacher and Nathalie Hoyos at booth Art Collection Telekom; © Deutsche Telekom AG; photos by Norbert Ittermann
– In Collaboration with Deutsche Telekom AG –

Two giant and viciously looking pigs float above a cityscape, opening their mouths and chewing on the architectural fundament of civil life. A hand cuts off a pig’s tail; the blood spreads into the sky. Painted inside the booth of Art Collection Telekom, the 1976-born Ukrainian artist Volodymyr Kuznetsov created the work during the installation phase for Art Cologne 2015. It refers to Koliyivshchyna, a bloody Ukrainian rebellion against Poland in 1768; and it asks what could be the next step after such immense brutality.

Assembled by the curators Nathalie Hoyos and Rainald Schumacher, and directed by Antje Hundhausen, the five-year-old Art Collection Telekom emphasises the contemporary art scene in Eastern Europe. Originally initiated on the occasion of the Telekom’s recently established national companies for communication services in countries such as Romania and Poland, their bonds to Eastern Europe now imply a visual dialogue and exchange.

The collection neither focusses on decorative works for corporate headquarters, nor on big names. It  consists of art works that intend to create a cultural understanding, such as the works by 1986-born Kosovan artist Petrit Halilaj, who currently has a solo show at Kölnischer Kunstverein. One of the collection's major concerns is the support of young Eastern European artists, and especially those, whose works are controversially raising the awareness of social change. Nathalie and Rainald, who are both experienced in managing large collections, have been a part of the small team from the beginning on. I spoke with them about their curatorial work for the collection.

16 April 2015


Walter Dahn at booth Sprüth Magers, Berlin, London Walter Dahn at booth Sprüth Magers, Berlin, London Rose Eken ar booth The Hole, NY and V1 Gallery, Copenhagen Rose Eken at booth The Hole, NY and V1 Gallery, Copenhagen Michael Krebber at booth Galerie Nagel Draxler, Köln:Berlin Michael Krebber at booth Galerie Nagel Draxler, Köln, Berlin; all works © and courtesy the artists and galleries; photos © artfridge

In its 49th edition, the 209 predominantly German participating galleries of this year's art fair ART COLOGNE are divided in segments of emerging and established galleries for contemporary art and galleries for modern art. For the first time, these segments were separated on three floors. A new tactic, that helped bringing together the young and the established contemporary positions and their galleries: hosting the “New Contemporaries" section on the second floor, the “New Positions" and  “Collaborations" section is held in cooperation with NADA on the third floor, while modern and postwar art dealers are united on the ground floor.

10 April 2015


Work Elizabeth Willing © and courtesy the artist Work Elizabeth Willing © and courtesy the artist
all images: works by Elizabeth Willing, at Künstlerhaus Bethanien Berlin, © and courtesy Elizabeth Willing

On a distance, the wall object looks like an abstract version of a David Hockney landscape painting. But closer inspection reveals: it is 3000 pieces of chocolate, the type of creamy and cold tasting German Eiskonfekt, wrapped in differently coloured shiny papers. This work, like many other pieces from Australian artist Elizabeth Willing, may be eaten by gallery visitors. Usually based in her hometown Brisbane, where she finished her fine art studies, 1988-born Elizabeth came to Germany and worked with Thomas Rentmeister for a few months until she began her one-year artist residency at Künstlerhaus Bethanien in Berlin. Her sculptural work is mostly made of food or it is related to food products, eating and cooking habits. While usually ephemeral, the objects perform their own fleeting process either through their consumption or through their evident, limited sustainability. Strong smells of food, such as cheese, are paired with materials, interfering the perception of other pieces through multi-sensory manipulation and thus sabotaging the common anticipation. Elizabeth stages food as as solid material, but, always with a wink, she also wittily reveals our complicate relationship to the moral politics and the ethics of food.

3 April 2015


Portrait-M-Krzykowski Craft-&-Bling-Bling--Fake Depotgrafie-by-Emyl-Depot-Basel-Moritz-Lehner From the top: Portrait Matylda Krzykowski; Depot Basel - Ort für kontemporäre Gestaltung; Depot Basel inside (Depotgraphy – a display system by Emyl / Moritz Lehner)

The small German word "Tausendsassa" describes a person who has many talents and possibly makes use of all these abilities. Matylda Krzykowski is one of these rare all-rounders: Open-minded and articulate, she works as a designer, curator, publisher and artist, while her  practice involves creative production, as much as exhibition making and developing of educational programs, giving workshops and holding lectures. She is a creator, an organiser, an educator, a collaborator and a net-worker. She interviewed designers, who were asked to draw their answers, and coupled other designers with her lecture format Design Date. While she frequently travels between London and Basel, where she co-directs the design space Depot Basel - Ort für kontemporäre Gestaltung, Matylda just spend one year in Maastricht at the Jan van Eyck residency among many other creative producers. Her research about the display in a context of art and design along institutional strategies of representation now culminated in a hand-printed publication, a new exhibition format in Depot Basel's shop windows and an installation that Matylda exhibited during the open studios at Jan van Eyck.

17 March 2015


Naz Cuguoğlu
portrait of Naz Cuguoğlu; photo credit by by Zeynep Bolat

Residencies are a growing trend for artists and curators to establish an international network. But who are the organisers of these short-term projects? In Istanbul, one of the great networkers is Naz Cuguoğlu – coordinator of the maumau residency program in the district Çukurcuma. Having previously studied psychology and recently graduated in social psychology, Naz specialised in cultural psychology and volunteered in culture labs in Turkey, Nicaraguara and the US. She worked in an Istanbul-based gallery and frequently contributes reviews and interviews to publications like Istanbul art news, Artful Living, Trendsetter or KLOK. For her current project, the maumau residency, Naz organises the artists’ stay and co-curates exhibitions together with her collaborateur and maumau-founder Sine Ergün.

12 March 2015


Works from "Constructed Culture Sounds Like Conculture" at Ellis King, Dublin / Darren Bader, Mia Marfurt, Adrien Missika, Lydia Ourahmane and Tabor Robak Works from "Constructed Culture Sounds Like Conculture" at Ellis King, Dublin / Darren Bader, Mia Marfurt, Adrien Missika, Lydia Ourahmane and Tabor Robak
all images: installation views "Constructed Culture Sounds Like Conculture" | w/ Darren Bader, Mia Marfurt, Adrien Missika, Lydia Ourahmane and Tabor Robak | curated by Samuel Leuenberger | at Ellis King, Dublin | courtesy and © the artists | photo credit: Gunnar Meier

Not every title of an exhibition is self-explanatory. Sometimes it just increases the confusion. Constructed Culture Sounds Like Conculture is a group show at Ellis King in Dublin that has been put together by the swiss curator Samuel Leuenberger. Along the individual fantasy-scapes and narratives constructed by the artists Darren Bader, Mia Marfurt, Adrien Missika, Lydia Ourahmane and Tabor Robak, the show discusses the value of cultural constructions creating realities, responsibilities, images, perception-patterns and emotions attached to these realities. The result is a beautiful exhibition with a subject that is so complex and far-reaching, that I asked Samuel to explain the concept of Constructed Culture a bit further.

Samuel has a keen sense of aesthetic compositions and challenges. Having previously co-curated exhibitions like the live work show "14 Rooms" (2014) in Basel or the current painting show „Six Possibilities in Painting (Int)“ at Galerie Bernhard in Zurich, he experimented with both, the presentation of various artistic media and the negotioation of different subjects. With SALTS, his own project space in Birsfelden, just outside Basel, that started as dinner club and art salon, Samuel created a space for curatorial experiments and the development of ideas. Today he runs SALTS together with associate curator Elise Lammer, organising exhibitions and inviting others to work with them.

27 February 2015


#19Installation View_Form is What Happens Tobias Buckel_Form is What Happens1 From the top: installation view; Tobias Buckel, at Form is What Happens, Archiv Massiv, Leipzig / Courtesy and © the artists

“Form is what happens. It’s the fact of things in the world, however they are.” is a little known quote from the American poet Robert Creeley. With this statement he extended his prior principle “Form is never more than an extension of content”, which his older colleague Charles Olson used in 1950 in a manifest for the ‘Projective Verse’ – an open-form lyric. They demanded a separation of postmodern poetry from its static tradition and encouraged abstract tendencies, which had already begun in fine arts. Creeley’s proposition applied to the freedom of artistic expression and its diversity. Yet, despite its early empowerment, the form remains a condition of artistic production, be it a form of formlessness. Also contemporary painting – another medium that is preceded by a dictate of forms – is confronted with the question of what could be considered a painterly form today and which parameters determine its motifs. 

23 February 2015


TateSilva_NewShelterPlan_20_0160 TateSilva_NewShelterPlan_19_0180 TateSilva_NewShelterPlan_13_0178 all images above: Jordan Tate and Rick Silva at New Shelter Plan, Copenhagen / courtesy and © the artists 

Much discussed during the last Century, we keep on asking what role photography plays in our current society. For Jordan Tate, a 1981-born American multi-media artist who holds a degree in Philosophy and one in Photography, the medium and the image are always "fundamentally inseparable": His art negotiates the practice, the action, the process of image making and their perception through the context of photography. Within these subjects, Tate's photographic works are not necessarily two dimensional, they are also animated, sculptural or they extend their form into an installation. Living and working in Cincinnati, his current show DRAPE WAVE in the Copenhagen-based project space New Shelter Plan exhibits several works that he and his colleague Rick Silva created together. In our interview Tate told me about this collaboration, about the aura and the object-hood of the photographic image.

15 February 2015


The-Museum-of-Tongues_100x81_13 04_RN_SALVATORE 11_RN_SALVATORE all works by Rasmus Nilausen at Traneudstillingen, Copenhagen, courtesy and © Rasmus Nilausen

There is something boy'ish about the way Rasmus Nilausen smiles. Its like a small blink. As if he knew a funny thing that he decided not to share. And it is a very similar misteriousness that can be found in his paintings: each holding a story that is suggested through symbolic references, the paintings' visual appearance often guides in a completely different direction. Sometimes funny, sometimes tragic and sometimes just absurd. Based in Barcelona for more than a decade, the a 35-year old Danish painter uses his exhibitions to reformulate and, specifically, to re-invent the way we look at paintings. He tracks down the process of painting – unfolds it to its very basic techniques – and finds a new literalness to tell their stories. Rasmus explores the recipe of historical masterpieces and proceeds hoping that, as he has stated in a previous interview in 2011, "the perfect painting is always the one that I am about to paint – the next one." Having shown his works in art institutions, such as the ICA in London and Fundació Tàpies in Barcelona, Salvatore, his current exhibition at Traneudstillingen in Copenhagen is his first show in Denmark.  

15 January 2015


Katja Kottmann_1_1_Stuhl Katja Kottmann_1_1 all works shown in the exhibition SHIPSHAPE, Städtische Galerie am Park, Viersen; courtesy and © Katja Kottmann

We often speak about site-specificity when referring to art works that relate to the environment they are exhibited in. In the case of conceptual installation artist Katja Kottmann this description finds another dimension: Each of her works recall or manipulate its past or current surroundings. While her objects' aesthetic is often strongly reminiscent of gestures in minimalist paintings, Kottmann conserves architectural features and represents them as ready-mades, honouring the basic form of space in a neutral approach.

Following a one-year residency in Viersen, a small town in west Germany, 1982-born Kottmann finished her stay with the solo exhibition SHIPSHAPE at Städtische Galerie am Park. The show touches many of the artist's recurring subjects, such as aspects of dispersion and of perception. The latter, as suggested by Kottmann, can never be motionless and is never entirely determined. Even the smallest shifts, interventions or translations lead to new perspectives in perception and give a visual appearance to the invisible. In our interview Kottmann told me about her show and her play with shifts.