Archipelago Goldrausch 2018 Exhibition
Pictures by Sebastian Eggler
In the exhibition Archipelago—Goldrausch 2018 the Goldrausch Künstlerinnen- projekt presents the work of this year’s ﬁfteen project participants. The image
of the archipelago refers to groups of islands that can be found around the world in all oceans and on all latitudes in various constellations. It mirrors the diversity of the group and their practices. At the same time, the theme of the exhibition also points to the loose network structure of the overall project, which is constantly developing and which, in 2018, is taking place for the 28th time. Since 1989 it has been supporting women artists by imparting career-relevant knowledge within the frame-work of a one-year continuing education programme. In addition to the creation of a website and a catalogue, the programme includes the organisation of an annual group exhibition, which this year brings together 15 exciting individual positions in the Reinbeckhallen.
Alma Alloro’s works have a dual existence in digital media and in handcrafted formats. They explore the possibilities and limits of hand-made objects in our digitally oriented world. In her new work, Trouble at the Textile Factory, Alloro stages a theatrical scene depicting the story of a textile factory that has transformed into an anthropomorphic being. Consisting of a large-scale patchwork quilt and a video object, the work is inspired by the style and form of revolutionary art from the early 20th century, as well as the textures and patterns
of contemporary urban landscapes. It serves as an allegory of the social, economic and cultural status of labour in the process of art production.
Lotta Bartoschewski primarily works as a sculptor. For her site-speciﬁc installations she uses various materials that are temporarily placed in the space. The artist builds negative forms, the insides of which are treated in various ways—with ink or pigments, or coated with papers and ﬂat objects. She pours or spreads plaster into these forms. As a result, colourful traces and layers emerge on the many surfaces of the plaster objects. For Archipelago she has created a group of sculptures which protrude from the ﬂoor of the hall and ask for their counterparts, proclaiming themselves new protagonists in the space.
Samantha Bohatsch works with text, sound pieces, installation and performance, exploring forms of interpersonal commu-nication. Her works are about female protagonists who reach social or societal boundaries and try to overcome them. They are hybrids of personal experiences, observations from the internet, queer and feminist literature, history and pop culture. mixed feelings (2017) tells the story of the life of a nameless individual in Berlin. SHE SAID (2018) is inspired by Hildegard von Bingen, a German nun and mystic from the 12th century, who concealed until the age of 40 that she had visions.
Lena Marie Emrich
At ﬁrst glance inﬁnity and speed appear to be opposing factors – and yet Lena Marie Emrich brings them together in Inﬁnity Drift. In her staged video work, the conceptual artist collaborates with the car-tuning scene in Brandenburg. The car is inﬁnitely tuned, apparently without even starting or stopping; in this image of constant loops the viewer ﬁnds a sort of romanticism. The slight ascension of the camera acts as a visual revelation to our sense of time – the heart beats faster, the seconds seem slower, and phenomena feel more intense.
Anna Fiegen works predominantly in painting and printmaking. In terms of motifs, she removes images of urban architecture from their contexts and stages them as traces of civilisation in deserted landscapes. Reduced, sculptural monoliths become surfaces for projection and identiﬁcation. At the same time, Fiegen experiments with the materiality of oil paint – from impasto application through to the liquefaction and dissolution of the body of colour. In her current series she explores the architectural style of post-war modernism. Her focus is on utopian approaches such as brutalism, which, as an international architectural style, corresponds to the placelessness of her painterly subjects.
Francisca Gómez is concerned with the question: At which point is a building no longer habitable? Or, in other words, can every architectural structure be made habitable? The artist sees dwellings as social bodies, as the second skin of people situated between social positioning and individual action. With this as a starting point, she dedicates her current photo-graphic work to the situation in refugee camps, now known as “Ankunfts-/Ankerzentren” (Centres for arrival, decision, repatriation), which are being installed all over the country. Over three months, Gómez established close relationships with residents in a mass accommodation centre in the Münster region in order to make tangible what it means for the indivi-dual to inhabit these minimal spaces.
In her artistic production, Gisèle Gonon questions the social structures which restrict individuals in economic, political and territorial spheres. Her new multimedia installation Work With Us critically approaches the language used in recruitment processes; the terminology speaks volumes about our current relationship to work. Work With Us oscillates between indivi-dual and shared spaces, and unites objects borrowed from offices—blinds, coffee machines, ﬂip charts, partition walls. Gonon translates the paradoxical strategies embedded in the “we-form” into her work. Work With Us exposes the tensions and contradictions of our contemporary globalised society.
Agnė Juodvalkytės painting practice roots in the blending of different materialities. Canvases, textiles and used clothing are subjected to a treatment with pigments, ashes, graphite dust, roots, plant seeds, wood and liquids. Often presented in an anthropomorphic way, her works breathe their past into the present, becoming multidimensional artefacts extending not only into the space but also into time.
In Aneta Kajzer’s work, images of corporeality, sexuality, embarrassment and failure, as well as their associated emotional states, exist alongside intuitive formal decisions, all of which inform each other. Abstraction and ﬁguration are clearly interwoven in her paintings. Both the reﬂection on painting and the reﬂection on one’s own existence—as a body, as a woman—are treated with humour in Aneta Kajzer’s images.
Annelies Kamen’s work is a joke. By using jokes as an artistic methodology, she allows the special function of linguistic one-liners, the almost simultaneous capturing of two contra-dictory realities, to exist in objects and images. She creates, as in a faucet which stops dripping when nobody is listening to it, not just comic-objects, but comedian-objects. The video installation Greatest Hits draws upon an archive of onomato-poetic sound effects from comics published in Mad magazine. In collaboration with Almut Schwacke, a berlin-based Foley artist, Kamen re-authors these sounds and their precipitating events. In doing so, she focuses on the legitimacy of female fools in response to a source that historically excluded female contributors.
Soline Krug combines her lecture performances with in- stallations and images. She examines existing systems along their possible fault lines. Physical phenomena mix with those from popular culture, psychology, philosophy or linguistics— a virtual way of thinking. Truisms and guidelines lose them- selves in contradictions, which then turn into inner monolo-gues. In persona, Soline Krug explores the principle of the mask as facade. The desire for transparency and honesty is disassembled behind a sheer layer of latex and shifted to another level.
Yeongbin Lee explores “audible movements” and the visuali- sation of sounds. She collects noises that she hears during the day, which form the basis of her artistic practice. Lee perceives with the eyes, ears and legs and, in her studio, records experiences from her memory. She not only draws, but also composes. The “audible movements” become
an experimental, graphic score, which is enacted as a musical performance with various musicians within the framework of the exhibition.
In her paintings, drawings and wall installations, Tomoko Mori engages with her perception of pictorial moments in the landscape. Unintentional moments in the cityscape, such as the temporary state of a building site, form the visual starting points of Mori’s ideas. She then transmits what she has seen in an indirect way into her imagery. She reconstructs ﬁctional landscapes through lines, colours and forms, thus arriving
at non-representational compositions. In her wall installation Rummelsburger Bucht Mori transfers her subjective per-ception of the place into an abstract form. Throughout this process she is concerned with an intangible mood that only reveals itself in an intermediate state.
Kate-Hers Rhee’s transnational feminist artworks subvert the male gaze and dismantle the orientalist perspective. With the aim of a portrayal of femininity that is female centred and free of lookism, Rhee’s installation Seven Sisters refers to inventions that were created in order to control the female body or service the male body. This memorial installation pays tribute to women, especially to the ‘comfort women’ who were forced into sexual slavery during the Second World War at the time of Japanese occupation. The Shaman is a spiritual, cultural artefact that ponders the cosmos.
Silke Schwarz entangles her audience in collective dynamics developed through performative and participatory elements in her work. In her installation Schwarz auf Gold (2018), the relationship between commitment and success is addressed, as well as the way these are measured socially. With the act of writing on the vibrating body in “UND—KANNST DU DAVON LEBEN?” (and—can you make a living?), not only is the market value of the person on the pedestal questioned, but also that of the person watching. The continuous eye contact between performer, viewer, and the question that is being raised, calls for direct involvement on equal terms.