catalogue - Factory Art

Transcription

FACTORY-ART GALLERY
MOMMSENSTRASSE, 27-BERLIN
factory-art.com
+49(0)30.31809794
2012 PROJECT BERLIN
May Be ( )Evolution
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10 May-08 June 2012
FACTORY-ART gallery
May Be ( )Evolution pag. 1
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factory-art.com
+49(0)30.31809794
2012 PROJECT BERLIN
May Be ( )Evolution
R
FACTORY-ART GALLERY
10 May-08 June 2012
Two words: Evolution and Revolution. Fused toghether.
Closely resemble one another. They are constantly used
in their social and political sense as though their meaning
were absolutely antagonistic. The word Evolution,
synonymous with gradual and continuous development.
Revolution, which implies changes more or less sudden
in their action, and entailing some sort of catastrophe. Is
it possible that a transformation can take place in ideas
without bringing about some abrupt displacements in the
equilibrium of life? Must not revolution necessarily follow
evolution, as action follows the desire to act? They are
fundamentally one and the same thing, differing only
according to the time of their appearance. If, on the
one hand, we believe in the normal progress of ideas,
and, on the other, expect opposition, then, of necessity,
we believe in external shocks which change the form
of society. We claim progress. (Freely adapted from
Evolution and Revolution - Elisée Reclus 1891)
The English noun evolution (from Latin ēvolūtiō
“unfolding, unrolling”) refers to any kind of gradual
change. Natural selection, adaptation, mutation,
heredity, extinction. Revolution (from the Latin revolutio,
“a turn around”) is a fundamental change in power or
organizational structures that takes place in a relatively
short period of time.
Why use these two words?
There are many great artists out there whose work
will never be seen because of how unbalanced the
field is. We are now proud at the 3rd date of the “2012
Project Berlin” with which we want to contribute to a
creeping anarchy with the goal of evolution through tiny
revolutions.
FACTORY-ART gallery
Revolution is a planned and deliberate action taken to
change the order of things. Evolution could be a natural
or planned progression of events. Progression is not
necessarily rapid and could refer to organisms, natural
development, the outcome of an idea or event.
We’ll see.
The project includes a series of exhibitions throughout
the year and final catalog presented during an
international art fair, where will be published and
commented all selected artists. For the international art
fair, from all exhibited artists will be selected, by an
international curator, 6 artists to be exhibited.
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factory-art.com
+49(0)30.31809794
2012 PROJECT BERLIN
May Be ( )Evolution
R
FACTORY-ART GALLERY
10 May-08 June 2012
SELECTED ARTISTS:
JAVIER BARRIOS-NO
EVA DAXL-DE
CLINTON DE MENEZES-ZA
GUDRUN FISCHER-BOMERT-DE
ANA GONZALES-ROJAS-CO
KATHARINA KARRENBERG-DE
VEIKO KLEMMER-EE
ANITA KUNZ-CA
HELKA IMMONEN-FI
OLGER-NL
VALENTINA PERAZZINI-IT
WALTER UNGERER-US
GUEST ARTIST:
JIMMY REAGAN-US
FACTORY-ART gallery
sculpture_ pag. 4
installation_ pag. 8
painting_ pag. 12
painting_ pag. 20
painting_ pag. 30
painting_ pag. 33
painting_ pag. 39
photography_ pag. 42
video/installation_ pag. 45
video_ pag. 48
painting_ pag. 52
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JAVIER BARRIOS - NO
Born in 1979
Lives and works in Oslo
EDUCATION
2006-2007 Exchangestudent at School of Visual Arts,
New York, USA
2004-2007 The National Academy of Fine Art, Oslo
2002-2004 Einar Granum, School of Fine Arts, Oslo
2000-2001 Free art studies at the University of
Guanajuato, Mexico
SOLO SHOWS
2012 Museo Santo Domingo, Antigua, Guatemala
(upcoming)
”Black matter”Akershus Kunstsenter, Lillestrøm
2011 “Twilight is Upon Me” Rod Bianco Gallery, Oslo
“Big Black Hole”, Galerie Mulhaupt, Cologne
2010 “Love is an Astronaut”, A Gallery ,Copenhagen
“Pink is the New Space”, Bærum Kulturhus, Sandvika
2009 “Electric Dome”, Galleri 7011, Arena/Vestfossen
2007 “Static Fantastic”, A Gallery, Copenhagen
2005 “Show sans titre”, Galleri 21:24, Oslo
FACTORY-ART gallery
GROUPS SHOWS
2012 “Crystallomancy” Control room Gallery, Los
Angeles
2011 “Menneske og Maskin” Sculpture bi-annual,
Vigelandsmuseum, Oslo
“If I Could Dream” Stranda Sunmøre
“Kunstivalen” Galleri Hugo Opdal, Flø
Its in the margins that poems are found, Galleri Agnes
Amstaff, Oslo
2010 In Your Face, Galleri 7011 Trondheim
Kunstbasseng, Galleri Tipi
Salong 2010, Rod Bianco Residency
2009 Hotch Potch – London, MKII, London
Herre i eget Hus, Galleri BOA, Oslo
2008 Norske Bilder, Rådhusgalleriet, Oslo
Statens 121 Høstutstilling, Kunstnernes Hus, Oslo /
Stavanger
Art Copenhagen (Galleri Van Bau), København
“Don’t judge the book by its cover”, Gartenstudio
Gallery, Berlin / LitteraturHuset, Oslo
2007 “Ober geschossdrifter finger lechts” Ballhaus Ost,
Berlin, curated by Gunther Reski
“Take Off”, Galleri Brandstrup, Oslo
“Bindestrek”, Galleri GAD, Oslo
Avgangsutstillingen, Stenersen Museet, Oslo
“Sell Out”, UKS, Oslo
2006 “Connecting Paradoxes” SVA Gallery, New York,
curated by Suzanne Anker
“Summer Destruction Show”, Akademiet, Oslo
“The academy in exile”, UKS, Oslo
2005 “Pointdashpoint”, Galleri Van Bau Arena,
Vestfossen
“About last night”, Galleri Seildukken, Oslo
2004 Einar Granum jubileumsutstilling, Rådhus
Galleriet, Oslo
GRANTS AND PRIZES
2011 NBK ett årig arbeidsstipend
Norsk Kulturråds utstillingsstøtte
2010 Vederlagsfondets 1 årig arbeidsstipend
2009 The Onion Mag annual prize
2008 Statens diverse stipend
2006 Lise og Arne Hejes Fond International student
scholarship, School of Visual Art
BIBLIOGRAPHY
2012“Mørk Materie” Kunstforum webside / Sarolta Tatar
“Døren smal, porten lav” Klassekampen 23.12.2011
Astrid Hygen Meyer
Norsk Skulpturbiennale /exhibition catalogue
“Twilight Is upon Me” / exhibition catalogue
2011“Big Black Hole” / exhibition catalogue
2010 “Profiler”, Kunstforum nr.1
“Kunstens kraftlinjer”, VG 09.01.10 / Lars Elton
“Perspektiv”, Klassekampen 05.01.10
2009 “I øyeblikket”, Intervju på Billedkunst vol3.
“Hotch Potch” Klassekampen / Mona Gjessing
Oslo Open Festival avis / kunstnerprofil
Whats on Oslo magazine / Juli utgaven/ kunstnerprofil
Ungt på Vestfossen / Dagsavisen 24.07.09 / Mona
Larsen
2008 Dagens Næringsliv / Bilag til Norske Bilder / Liz
Buer
“Don’t judge a book by its cover”, Exhibition catalogue
Dagens Næringsliv, bilag til Norske Bilder / Liz Buer
2006 The Academy final year show exhibition catalogue
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are living through exciting times where the world is
experiencing an economic, a climatic and a structural
shift of power. While the world’s population is increasing
and our natural resources are being depleted, rapid
technological progress are laying a new platform for our
modern life.
JAVIER BARRIOS - NO
Artsist statement
My artistic project moves in a landscape between utopia
and facts, with inspirations drawn from science fiction,
visions of the future, technology, architecture, science
and space exploration, to mention just a few sources.
The inner core of the project relates to the great
philosophical questions surrounding the origin and the
evolution of Mankind, and the need to find the balance
between fact and fiction in this arena.
“How has Mankind been able to move from picking
lice off each other’s backs, to a world where we build
spaceships and send them out into the waste and
desolate space?”
It is from populistic media such as journals, television,
the internet, films and books that I harvest inspiration,
and it is from a populistic point of view that I wish
to utilize this material in order to throw light on
contemporary tendencies. There is no doubt that we
FACTORY-ART gallery
Throughout history, prophetic personalities have forecast
“the end of the world” and, as we know, they have all
been proved wrong. Such tendencies can in themselves
be seen as a reflexion of the times we live in, and of the
prevalent pesimistic views on the future at this particular
time in history. During the last decades such apocalyptic
views have come not only from mostly uninformed
individuals and sects, but also from people and groups
who have a background from research in different areas.
Researchers at the NASA don’t talk about if Mankind
will conquer the universe, but rather about when it will
happen. A new race to conquer the universe is motivated
by the wish to serve the common needs of Mankind,
rather than the political agenda of a single nation.
Private corporations such as Virgin are planning to give
(rich) people the chance to be space tourists, reportedly
starting in 2013 – a chance to leave the atmosphere of
the earth. At the same time the film industry is seeing
a new fascination with science fiction films. NASA is
planning manned colonies on the moon within 20 years,
followed by colonies on Mars. The Mayan calendar ends
in December 2012, and many inspired people think that
this signals the beginning of the end of the world, while
our planet is gradually pulled towards a black hole in the
center of the Milky Way.
Javier Barrios
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JAVIER BARRIOS - NO
Title: untitled, 2011
This is a real baboon skeleton which I have varnished
with a laquer that changes color from deep blue to purple
depending on how the light falls on it.
technique: Baboon skeleton with varnish mounted on
size:100x50x70 cm
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JAVIER BARRIOS - NO
Title:Octahedron, 2011
technique:aluminium with varnish
size: 40x60x65 cm
FACTORY-ART gallery
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Ankauf durch die Sammlung Strasser, München (D)
2005 „17. Coburger Designtage“, Fachhochschule
Coburg (D)
2006 „Wasser“ Schloßgalerie Mondsee (A)
2007 „diffusion“ Apothekerhaus Linz
2008 „kopieren und einfügen“ Universitätsgalerie Linz
im April (A)
2008 „kopieren und einfügen“ Kammerhofgalerie
Gmunden, August/September (A)
2009 Teilnahme am „12. Westerwaldpreis 2009
Keramik Europas“, Keramikmuseum HöhrGrenzhausen (D)
2010 Einzelausstellung in der Katholischen
Hochschulgemeinde, Linz (A)
2012 Einzelausstellung in der Arbeiterkammer
Oberösterreich (A)
2010 Kunstpreis des Kunst- und Gewerbevereines
Regensburg zur „84. Jahresschau“ (D)
2011 Kunstpreis der Arbeiterkammer Oberösterreich (A)
EVA DAXL - DE
Geboren 1982 in Regensburg, Deutschland
Education
1999-2002 Staatl. Berufsfachschule für Keramik,
Landshut (D)
2002 – 2004 Staatl. Fachschule für Keramik, Landshut (D)
(Meisterbrief)
2005 – 2008 Bachelorstudium an der
Studienrichtung Plastische Konzeptionen/Keramik,
Universität für Kunst und industrielle Gestaltung, Linz (A)
2008 – 2010 Masterstudium an derStudienrichtung
Plastische Konzeptionen/Keramik, Universität für Kunst
und industrielle Gestaltung, Linz (A)
Seit Oktober 2010 PhD-Studium an der Studienrichtung
Kunstgeschichte und Kunsttheorie,
Universität für Kunst und industrielle Gestaltung, Linz (A)
Ausstellungsbeteiligungen (Auswahl)/Preiss
2003 „77. Jahresschau des Kunst und Gewerbevereines“,
Regensburg (D)
2004 Abschlussausstellung Fachschule für Keramik,
Landshut (D),
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des weiteren Zeichen für mehr Mitmenschlichkeit in
Gesellschaft und Wirtschaft, und zuletzt auch für mehr
Wärme setzen.
Statement zu beiden Objekten:
In der heutigen Zeit, in der der Mensch zunehmend
in die Natur eingreift, sie verändert und zu optimieren
versucht, stellt sich für mich die Frage nach
Inszenierung und Wirklichkeit. Es werden immer mehr
Naturprodukte ohne unser Wissen manipuliert und mit
immer neuen Eigenschaften ausgestattet. So kann
auch eine natürliche Verpackung über den eigentlichen
Inhalt hinwegtäuschen und bei vielen Produkten erkennt
man durch die lange Verarbeitung die verwendeten
Grundmaterialien nicht mehr.
Statement zur Skulptur „Metamorphose I“:
Mit meinen ausgestopften Bananen wollte ich etwas
„Volles“ gegen etwas „Leeres“ tauschen bzw. ein mit
ungenießbaren Dingen gefülltes Kunstprodukt, dem
man die Nähe zur Natur aber noch ansieht, schaffen.
EVA DAXL - DE
Artsist statement
Allgemeines Statement zu meinen Projekten:
In meinen Projekten geht es vorrangig um eine kritische
Annäherung an die Gesellschaft bzw. Wirtschaft oder die
Politik. Ihre Strukturen und Machtgefüge sollen entlarvt
und angesprochen werden, die Gesellschaft auf Defizite
aufmerksam gemacht werden.
Für mich sind vor allem jene Bereiche des Lebens
interessant, die von der Öffentlichkeit nur am Rande
wahrgenommen
und
möglicherweise
verdrängt
bzw. von den Lobbyisten verharmlost werden,
ebenso wie Bereiche die vor allem in politischen und
gesellschaftlichen Kreisen keine Lobby besitzen.
Daher stellen meine Arbeiten oft allgemeine
Unsicherheiten, Ängste und Befürchtungen in unserer
schnelllebigen Gesellschaft vor der Zukunft dar, zeigen
zukünftige Szenarien und gewollte oder ungewollte
Veränderungen der Umwelt auf und rücken aber auch
mögliche Hoffnungen und Wünsche in den Mittelpunkt.
Meine Arbeiten wollen nicht nur die Gesellschaft aus
ihrer oftmaligen Gedankenlosigkeit aufrütteln, sondern
FACTORY-ART gallery
Statement zur Fotografie „Metamorphose II“:
Mit meinen Bananenbildern versuche ich auf den
„schönen Schein“ den die Werbung uns mit bearbeiteten
Fotos vorspielt und auf die manchmal unhaltbaren
Versprechungen aufmerksam zu machen.
Eva Daxl
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EVA DAXL - DE
Title: Metamorphose I, 2011
Inszenierung und Wirklichkeit. Es werden immer mehr
Naturprodukte ohne unser Wissen manipuliert und mit
immer neuen Eigenschaften ausgestattet. So kann
auch eine natürliche Verpackung über den eigentlichen
Inhalt hinwegtäuschen und bei vielen Produkten erkennt
man durch die lange Verarbeitung die verwendeten
Grundmaterialien nicht mehr. Mit meinen ausgestopften
Bananen habe ich etwas „Volles“ gegen etwas „Leeres“
getauscht bzw. ein mit ungenießbaren Dingen gefülltes
Kunstprodukt, dem man die Nähe zur Natur aber noch
ansieht, geschaffen.
technique: skulptur
size: h 21 cm, d 15 cm
FACTORY-ART gallery
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EVA DAXL - DE
Title: Metamorphose II, 2011
Inszenierung und Wirklichkeit. Es werden immer
mehr Naturprodukte ohne unser Wissen manipuliert
und mit immer neuen Eigenschaften ausgestattet.
So kann auch eine natürliche Verpackung über den
eigentlichen Inhalt hinwegtäuschen und bei vielen
Produkten erkennt man durch die lange Verarbeitung die
verwendeten Grundmaterialien nicht mehr. Mit meinen
Bananenbildern versuche ich auf den „schönen Schein“
den die Werbung uns mit bearbeiteten Fotos vorspielt
und auf die manchmal unhaltbaren Versprechungen
aufmerksam zu machen.
technique:fotografie
size: 31 x 93 cm
FACTORY-ART gallery
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CLINTON DE MENEZES - ZA
Education
Masters Degree: Fine Art, Durban University of
Technology, South Africa 2004
Selected Exhibitions
2012 Procession (Exodus) installed on long term loan,
October 2010 – October 2012 Metropolitan Museum of
Art, New York, USA
Beyond Zero. Stockwell Studios, London, UK
2011 VESSEL. Curated by Carl Slater as an official
fringe show to the British Art Show 7, Plymouth, UK
Landscape of Change. BHVU Gallery, London, UK
2010 Hearts and Minds. Co-curated by Thomas Dry
Barry, Hall Street Gallery, Savanah, USA
The Middle of Nowhere. Departure Gallery, London, UK
Displacement. Arts 4 Human Rights Festival, House
Gallery, London, UK
Passage. Shed and a Half Gallery, London, UK
2009 Probe. Solo exhibition, Persistence Works,
Yorkshire Artspace, Sheffield, UK
Tales That Witness Madness. Elevator Gallery, London, UK
Drench / Absorb. Oblong Gallery, London, UK
Open Show 09. Surface Gallery, Nottingham, UK
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2008 Open. Group show at Waterloo Gallery, London, UK
2007Selected work at Mojo Modern Gallery,
Johannesburg, South Africa
2006 Site(s). Solo, installation at AVA Gallery, Cape
Town, South Africa
Absa national selection, Johannesburg, South Africa
2005 Nivea Arts Award. Selected finalist, NSA Gallery,
Durban, South Africa
Sasol New Signatures. Selected finalist, Pretoria art
Museum, South Africa
2004 Location[s]. Solo, installation at the NSA Gallery,
Durban, South Africa 2004
2002 Location. Solo, Cupboard Gallery, Durban, South
Africa
2001 Absa national selection, Gauteng, South Africa
Works on paper. N.S.A. gallery, Durban, South Africa
2000 Ithunga group show, Durban Art gallery. South
Africa (Prize)
Conflicts. Installation and performance at Cuban Petes,
1999 Éclat festival. Installation and performance
in collaboration with Angelika Flaig and Matthias
Schneider-Holleck, Stuttgart, Germany
Ten-sion. Installation and performance at Zapata
Gallery, Stuttgart, Germany
Conflicts. Installation and performance at Palmer Street
Studios, Durban, South Africa
1998 Conflicts. Installation and performance at Palmer
Street Studios, Durban, South Africa
The Plight of Contemporary Art. Public performance
works in Strategic sites, Durban,
South Africa
1997 Transformations. Solo, Installation at the N.S.A
gallery, Durban, South Africa
Land. Solo, Java-Java gallery, Durban, South Africa
1996 Volkskas national selection, Pretoria, South Africa
1995 Emerging from the Kingdom. 2nd Johannesburg
Biennale fringe exhibition, Johannesburg,South Africa
Outsider. Group show, Johannesburg, South Africa
(2nd prize)
1994 Natal Biennale. Durban Art Gallery
Face to Face. Natal Technikon Art gallery, Durban,
South Africa (4th prize)
1993 Re-member. Solo, installation at the Flat Gallery,
1992 Face to Face. Natal Technikon Art gallery, Durban,
South Africa (2nd prize)
Prizes and Awards
2011 LICC Arts Awards, Finalist, London, UK
PricewaterhouseCoopers, awarded a major
commission for the new offices of PwC
designed by Norman Foster, London, UK
2010 LICC Arts Awards, Honorable Mention, London, UK
2005 Nivea Arts Award, finalist, Durban, South Africa
2001National Research Foundation scholarship,
2000 Ithunga Arts Award, Durban, South Africa
1999 Éclat Festival, Cultural exchange to Stuttgart, DE
1995 Outsider, Johannesburg, South Africa (2nd prize)
1994 Face to Face, Natal Technikon Art gallery, Durban,
South Africa (4th prize)
1992 Face to Face, Natal Technikon Art gallery, Durban,
South Africa (2nd prize)
Selected Commissions
PricewaterhouseCoopers, London, UK
Calgro M3 Holdings, Johannesburg, South Africa
Pembe Lodge, Mozambique
Guinevere Lodge, Hillcrest, South Africa
Tsogo Sun Hotel, Durban, South Africa
Beyersdorf Head office, Durban, South Africa
Cell C inner city commission, Durban, South Africa
Champagne Castle Hotel, Drakensburg, South Africa
Sun Coast Casino, Durban, South Africa
Affiliations/Memberships
2008-2012 an member, London, UK
2003-2004 KZNSA committee member, Durban, South
Africa
1998-2002 Red Eye Art Collective member, Durban,
South Africa
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Artsist statement
FACTORY-ART gallery
Clinton De Menezes is a multi -disciplinary artist working
in a range of mediums that include installation, painting,
drawing and photography.
Growing up in the industrialised and mined landscapes
of South Africa much of his work is informed by the
aesthetic, the history and the changing socio-political
attitudes towards the South African landscape and its
visual representation.
Since his relocat ion to the United Kingdom in 2007
De Menezes has expanded his visual and conceptual
terrain to include research in Topology (general theory
of space) and in the not ions of displacement, migration,
ecology, identity and mortality.
The ‘spaces’ he represents are somet imes specific,
informed by research and documentation of particular
sites and events, and somet imes metaphoric, developed
th rough research and working process. Through directly
sourced, found and archived material his ‘ landscapes’
“are as much about the concepts and processes of
regenerat ion and degenerat ionas they are about the
contemporary sublime and apocalypse”.
Clinton De Menezes
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Title: Passage series: Ruin, 2011
An ongoing investigation into the politics and poetics
that define contemporary space and in the processes of
regeneration and degeneration
technique: Mixed media on canvas
size: 55 x 55 x 12 cm
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Title: Passage series: Container, 2010
An ongoing investigation into the politics and poetics
that define contemporary space and in the processes of
regeneration and degeneration
technique: Mixed media on canvas
size: 55 x 55 x 12 cm
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Federation, Brazil, China
Artworks in public collections: Graphothek Berlin,
Kunstverleih Friedrichshain, Berlin, Museum of Modern
Art, Krasnojarsk, Public Collection of Enissey, Museum
of Schelesnogorsk, Russian Federation, Do Rio Grande
Do Norte Federal University, Natal, Brazil, Collection of
Russian Museum, Harbin, China
In the Netherlands represented by Gallery Helga
Hofman, Alphen/Rijn.
GUDRUN FISCHER- BOMERT - DE
Education:
1989-1994 Masters of Fine Arts, Universität der
Künste, Berlin
2001 Participation in a Cultural Exchange with artists
from Spain (Tarragona) and Germany (Berlin)
2005 Participation in the International Biennial VI,
Krasnojarsk, Russian Federation
Participation in the “German-Brazilian Workshop for
Fine Arts” of the Do Rio Grande Do Norte University,
Natal, Brazil
2007 Participations in International Cultural Exchanges
of the Russian Art Museum, Harbin, China
2004/06/10 Participations in International Cultural
Exchanges in Krasnojarsk, Schelesnogorsk, Enissey,
Atschinsk, Norilsk, Russian Federation
2012 Juryaward of Second Great Art Exhibition
Nürnberg, Germany, „sustainabilitiy“,
Since 1986 exhibitions in Germany, Poland, Austria,
Netherlands, Croatia, Norway, Spain, Russian
FACTORY-ART gallery
SOLO EXHIBITIONS (SELECTION)
2012 AOK Nordost, Berlin (Mariendorf,
Hohenschönhausen, Pankow) and Teltow,
Brandenburg, BRD
nomination AOK art award
2009 Cityhall Gallery, Reinickendorf, Berlin, „RR
Gudrun Fischer-Bomert”
2008 Museum de Kopermolen, Kunstverein, Vaals, NL
Wgkunst, Kunstverein, Amsterdam, NL
2007 Schloss und Gut Liebenberg, Brandenburg, „Vom
Wasser“
Gallery Helga Hofman, Alphen /Rijn, NL
2006 Gallery Art Forum, Seligenstadt, Germany
Centre Bagatelle, Kunstverein Centre Bagatelle, Berlin,
„Selbst“
2003 Gallery Solitaire, Berlin “Zoom”
2002 Gallery Helga Hofman, Alphen /Rijn, NL
Gallery Grünstrasse, Berlin
2001 Projekt Gallery Mitte, Berlin, “Paintings and
Objects”
KunstRaum Berlin, Berlin
Max Delbrück Centrum, Berlin
2000 St. Matthäus-Church, Berlin, Festival of Arts with
WindSpiel Theatre
1996 Broschwitz Gallery, Berlin, „carpe diem“
1995 Matthäus Church, Berlin, „Atemraum“
Gallery Alte Posthalterei, Melle, Germany, “Paintings
and Objects”
GROUP EXHIBITIONS (SELECTION)
2012 Second Great Art Exhibition Nürnberg, BRD,
„sustainabilitiy“
2011 Ostrale, Centre of contemporary arts, Dresden,
Germany
Gallery of artist association Krasnoyarsk, Russian
Federation
M Gallery, BVBK, Potsdam, Germany, “new members”
Rosenheim Museum, Offenbach, Germany, “orientokzident”
2010 Nord Art 2010, kunst in der carlshütte, Büdelsdorf
and Rendsburg, BRD
Gallery Schelesnogorsk, Gallery Atschinsk, Siberia,
„open space“
Gallery Helga Hofman, Alphen/Rijn, NL
Gallery Romanov, Krasnojarsk, Russ. Fed.
2009 Mediengalerie ver.di, Berlin, “Erdansichten”
2008 Gallery Helga Hofman, Alphen /Rijn, NL, „Artists
of the Gallery“
Atelierhof Werenzhain, Land Brandenburg, “Secret
Rooms”
2007 Russian Art Museum, Harbin China, „TransitEurasia“
Mediengalerie ver.di, Berlin, „Wasser Ansichten“
2006 Atelierhof Werenzhain, Land Brandenburg, „10
Jahre Atelierhof“
Gallery Schwartzsche Villa, Berlin, „Verortung”
Art Museum, Norilsk, Siberia
Kulturzentrum Stargard, Polen, „focus Szymborska“
2005 KunstRaum Berlin, Berlin, „Artists of the
KunstRaum“
Inselgalerie, Berlin, „focus Szymborska“
Museum of Modern Art, Krasnoyarsk, Siberia, „Biennial
VI“
Do Rio Grande Do Norte Universitiy,Natal, Brazil
2004 Gallery Jenisseysk, Siberia, “Siberian Way II”
Museum of Modern Art, Krasnoyarsk, Siberia
Atelierhof Werenzhain, Werenzhain, Germany,
“Transformations”
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Projekt Berlin 2012 May Be (R)evolution
Titel, Jahr: Schwebeteilchen in waterhome, 2012
Technik, Größe: Installation mit Arbeitstisch, 74, 5 x 149
x 79 cm; 5 Aquarien mit Wasser, 2 mal 20 x 30 x 20 cm;
26 x 40 x23 cm; 29,5 x 59,5 x 30 cm; 40 x 79,5 x 30 cm
mit Wasserpumpe, Objekte aus Draht und schwarzen
Trinkhalmen schweben im Wasser. Auf dem Tisch
stehen zehn Petrischalen Ø 10 cm, vier Petrischalen
Ø 7,2 cm mit Wasser und gebogenen Objekten aus
schwarzen Trinkhalmen. An der Wand hängt eine
Transparentfolie 162 x 100 cm; dahinter befindet sich
ein schwarz-weißes Foto 44 x 30,5 cm. Das Foto zeigt
im Mittelteil einen Beobachter mit Fernglas, überlagert
durch Schatten von Gebüsch und Bäumen. Überdeckt
von der Transparentfolie bleibt eine ungenaue helldunkel Struktur sichtbar.
Zu meiner Arbeit:
Wasser ist auf unterschiedliche Art immer wieder
Thema meiner Bilder, Objekte und Installationen. Ein
FACTORY-ART gallery
Ausgangspunkt meiner Arbeit war ein Zeitungsartikel:
„Auf offener See finden sich nach aktueller Schätzung
bis zu eine Million Plastikpartikel pro Quadratkilometer.
Europas Badewanne enthält damit ebenso viel Schrott
wie der Große Pazifische Müllstrudel, ein gigantischer
Teppich von der Größe Westeuropas, der zwischen
den Küsten Kaliforniens und Japans im Nordpazifik im
Uhrzeigersinn rotiert. In den 1990er-Jahren entdeckt,
wurde dieser Great Pacific Garbage Patch zum Symbol
…“ (Berliner Zeitung, Nr. 192, vom 18. August 2011, Lilo
Berg: „Endstation Ozean“). Vögel und Fische verhungern
mit müllgefüllten Mägen. Der weltweite Gebrauch
von Plastik steigt, viele Stoffe sind resistent gegen
natürlichen Abbau und verbleiben als Nanopartikel im
Wasser.
Schwebeteilchen
in
waterhome
zeigt
eine
Versuchsanordnung. Zunächst aus einzelnen kleinen
Abschnitten bestehend, vergrößern sich dunkle
ringförmige Teile zu biegsamen länglichen Formen
in Petrischalen mit Wasser (wie Nährflüssigkeit)
liegend. Strahlenförmiges schwebt in Aquarien, die
mit Wasser gefüllt nach Größe geordnet auf einem
Arbeitstisch stehen. Teilweise über, teilweise unter
dem Wasserspiegel erscheinen die Teile bei frontaler
Betrachtung kompakt. Von oben betrachtet lässt die
Röhrenform der Objekte Durchblicke ins Wasser zu,
sie scheinen aufgelöst, instabil. Im Aquarium auf dem
Boden läuft eine Pumpe, die zwei Schwebeteilchen
zum Kreiseln bringt und Geräusche von plätscherndem
Wasser erzeugt.
Die schwarzen schwebenden Teile sind aus Trinkhalmen
gefertigt. Trinkhalme evozieren Vorstellungen von
Menschen, von Flüssigkeitsaufnahme, Wasserbedarf
und
Trinkwasserressourcen.
Arbeitstisch
und
Proportionen der Anordnung deuten auf menschliche
Präsenz. Er fehlt. Der Arbeitsplatz scheint altertümlich,
ein vergilbtes Transparent hängt an der Wand, dahinter
eine unscharfe Ahnung. Ein Mensch mit Fernglas
versteckt hinter Schatten oder ein Schwebeteilchen
zwischen Algen im Ozean?
„Waterhome“ ist der Name unter dem Aquarien im
Handel vertrieben werden. Statt kleiner Fische im
häuslichen Umfeld, schwimmen Plastikteile im Wasser
der Kunstöffentlichkeit. Entwickelt(e) sich hier eine neue
Spezies?
May Be (R)evolution!
Gudrun Fischer-Bomert
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Project Berlin 2012 May Be (R)evolution
Title: suspended matter in waterhome, 2012
Technique, size: Installation with work table, 74.5 x 149 x
79 cm; 5 aquariums with water, dimensions
for 2 of the aquariums 20 x 30 x 20 cm; dimensions for
the others 26 x 40 x23 cm; 29.5 x 59.5 x 30 cm; 40 x
79.5 x 30 cm with water pump, objects made of wire and
black straws floating in water. On the table, ten Petri
dishes Ø 10 cm, four Petri dishes Ø 7.2 cm with water
and bent objects made of black straws. A 162 x 100 cm
translucent vellum sheet hangs on the wall; overlaying a
black-andwhite photo 44 x 30.5 cm. The central part of
the photo shows an observer wearing goggles partially
hidden by shadows of bushes and trees. The photo is
covered by a translucent paper sheet, leaving visible an
indistinct light-dark structure.
About my work:
In various ways, water has been a recurring theme of my
paintings, objects and installations. One
impetus for this work came from a newspaper article:
FACTORY-ART gallery
“According to current estimates, up to one million plastic
particles can be found per square kilometre of open sea.
Europe‘s “bathtub” contains just as much debris as the
Great Pacific Garbage Patch, a gigantic gyre the size of
Western Europe which rotates clockwise between the
coasts of California and Japan in the Northern Pacific.
Discovered in the 1990s, this Great Pacific Garbage
Patch has become a symbol …” (Berliner Zeitung, No.
192, 18 August 2011, Lilo Berg: “Ocean Terminus”).
Birds and fish die of starvation with garbagefilled
stomachs. The use of plastics is increasing around
the world; many substances are nonbiodegradable
and persist as nanoparticles in the water. suspended
matter in waterhome shows an experimental setup.
Dark, ring-formed parts consisting of individual small
segments proliferate in the Petri dishes filled with water
(like nutrient fluid) to become flexible, elongated entities.
Radial configurations float in the aquariums, which are
filled with water and placed according to size on a work
table. Viewed from the front, the parts appear compact,
partially above the water line and partially below it. Seen
from above, the tubular shape of the objects allows
views into the water, they seem disbanded, unstable.
In an aquarium on the floor a pump is running, causing
two floating parts to spin and generating the noise of
splashing water.
The black suspended parts are made of drinking straws.
Straws evoke associations of people, of fluid intake,
demand for water and resources of drinking water. The
work table and the proportions of the setup indicate a
human presence, which however is absent. The work
place appears antiquated; a yellowed translucent sheet
hangs on the wall, behind it an unfocused foreboding: a
person wearing goggles lurking behind shadows, or a
floating part among algae in the ocean?
“Waterhome” is a reference to a brand name for an
aquarium product line that is sold commercially.
Instead of small fish swimming in a home environment,
plastic debris is floating in the water of the public sphere
of art. Is a new species developing here?
May Be (R)evolution!
Gudrun Fischer-Bomert
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Title: Schwebeteilchen in waterhome, 2012
Technique:Installation mit Arbeitstisch
FACTORY-ART gallery
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ANA GONZALEZ ROJAS - CO
Birth place and date: Bogotá, May 29th of 1974
EDUCATION
2001 Master’s degree in Art Media, Ecole Supérieure
E.S.C.P /E.A.P., Paris, France
1997 Architect, Universidad de los Andes, Bogotá,
Colombia
INDIVIDUAL EXHIBITIONS
2011“Azucar”, La Cometa Gallery, Bogotá, Colombia
“Cien Años”, Cardioinfantil Foundation, Bogotá,
Colombia
“Muros libres”, Colombian Embassy in Bern,
Switzerland
2009“OA…sin moverme”, Arte Consultores Gallery,
Bogotá, Colombia
2007“Alicia”, Arte Consultores Gallery, Bogotá,
Colombia
2005 “Regreso a casa”, Santillana Foundation,
Bogotá, Colombia
2004“Desaparecidos”, Exhibition Hall, BP Exploration
Company , Bogotá, Colombia
FACTORY-ART gallery
COLLECTIVE EXHIBITIONS
2012“Memorias de Infancia”, La Cometa Gallery,
Bogotá, Colombia
2012“The Apartment”, Curated by Estefania Sokoloff,
The Apartment, Bogotá, Colombia
2011“World Art Vision”, Real Círculo Artístico,
Barcelona, España
2011“El Cambio”, Banco Mundial, Washington, USA
2011 “Arteamericas” , Seven women artists, Sandra
Montenegro Contemporary Art, Miami, USA
2010 “Miami Art Basel 2010”, Gretel Gallery, Miami, USA
2010 “Salon dáutomne”, Grand Palais, Paris,
Francia
2010 “Artbo Fair”, Contemporary Art Fair, La Cometa,
Bogotá, Colombia
2010 “Chicas chicas chicas”, OEA, Washington
2010 “Friends”, La Cometa Gallery, Bogotá
2009 “Formarte”, Plaza de Bolívar de Bogotá,
Corazón Verde Foundation , Bogota
2009 “Artistas Latinoamericanos”, Museum of the
Americas, Miami, USA
2009“Chicas Chicas Chicas”, Curated by Franklin
Aguirre, Chamber of Commerce, Bogota
2009“Art Show Zurich 2009”, Emerging Artists
Pavillion, Puls 5, Zurich, Switzerland
2008“Salón del Fuego”, Gilberto Alzate Avendaño
Foundation, Bogotá, Colombia
2008“4 Salón de Arte Joven”, El Nogal Gallery,
Bogotá, Colombia
2007 “Bienal de Arte Contemporáneo de Florencia”,
Fortezza da Basso, Florence, Italy
2007“Pintemos Juntos por Colombia”, El Nogal
Gallery, Auction Corporación Matamoros, Bogotá,
Colombia
2007 “ARTBO”Art fair, Corferias, Arte Consultores
Gallery, Bogotá, Colombia
2006“Salón de Agosto”, Museum of Contemporary
Art, Finalist Artists, Bogotá, Colombia
1996“Falansterios”, Universidad Nacional, Exhibition
of competition’s finalists, Fine Arts and Architecture
Faculty, Bogotá, Colombia
1995“Arte para Bogotá”, Installation in collaboration
with Luis Fernando Roldán, Santafé Gallery, District
Planetarium, Bogotá, Colombia
SEMINARS AND WORKSHOPS
2005“Atelier Fabrication”, Engraving and
Photographic Printing Workshop, Atelier Rouen,
Paris, France
2004“Atelier Photo”, Photographic Production and
Photo Styling Workshop, Hachette Filipacchi Medias,
Paris, France
2000“Cours de Dessin et Peinture”, Ecole Nationale
Supérieure de Beaux - Arts, Paris, France
1999“Stage Informatique en Medias et Photographie
Digitale”, Hachette Filipacchi Medias, Paris, France
1996“Taller: Fotografía e Imagen”, UIA, Barcelona,
Spain
1996“Art and Gender Studies”, Trinity College, Dublin
/ London, Great Britain
1996“Taller escultura”, with Master Janine Antoni,
IMMA, Dublin, Ireland
PRIZES AND AWARDS
2011 Selected “Muros libres”, Colombian Embasssy
in Bern, Switzerland
2011 Selected at World Art Vision, Real Círculo
Artístico, Barcelona, Spain
2010 Selected in Open Art Code Paris, Grand Palais,
Paris
2010 Selected in Cambio, Latinamerican Artists
Exhibition, World Bank Art Program, Washington,
Usa
2010 Selected in Latinamerican women artsts
exhibition Chicas, OEA, Washington, Usa
2009 Selected in Art Show Zurich 2009, Zurich,
Switzerland
2008 Selected “Salón del Fuego”, Installation, Alzate
Avendaño Foundation, Bogotá, Colombia
2008 Selected “4 Salón de Arte Joven”, Bogotá,
Colombia
2007 Finalist, Mention “Artist Beyond Walls”, Best
International Artist, Biennial of Contemporary Art in
Florence, Italy
2007 Finalist, Fourth Place “Prize Best Pictorial
Work”, Biennial of Contemporary Art in Florence, Italy
2006 Best Bi-dimensional Work Award, “Salón de
Agosto”, Museo de Arte Contemporáneo, Bogotá
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PUBLICATIONS
BOOKS
Arte Contemporáneo 2008, Prologue by Carlos
Prieto, Ed. Landucci S.A., 2008, México DF
Biennale Internazionale dell’ArteContemporanea,
Citta di Firenze, Prologue by Gilbert and George,
Pasquale Celona and Emanuel Von Lauenstein
Massarani, Editorial Tap Grafiche-Siena, 2007,
Florence, Italy
Arte para Bogotá, Prologue by Paul Bromberg,
Maria Teresa Guerrero, Gustavo Zalamea, Alberto
Saldarriaga, Carmen María Jaramillo and Carlos
Niño Murcia, Editorial Universidad Nacional, 1997,
Bogotá, Colombia
Axxis Deco, Prologue by Ana María Fríes, Ediciones
Gamma, 2005, Bogotá, Colombia
1997 Finalist in “Arte para Bogotá” Contest: “Bogota
7800”, Installation in collaboration with the artist
Luis Fernando Roldán, District Planetarium, Alcaldía
Mayor de Bogotá
1996 First Place, “Falansterios” Contest, Fine Arts
and Architecture Faculty, Universidad Nacional,
Bogotá
COLLECTIONS
MAC, Museo de Arte Contemporáneo Minuto de
Dios, Bogotá, Colombia
Museum of the Americas, Miami, Usa
Fundación Santillana, Bogotá, Colombia
Universidad de Antioquia, Medellín, Colombia
FACTORY-ART gallery
CATALOGS
Art Show Zurich, 2009, Emerging Artists catalog
exhibition, Zurich, Switzerland,
OA…sin moverme, Text by Estefanía Sokoloff,
Galeria Arte Consultores, 2009, Bogotá
Salón del Fuego 2008, Texts by Ana María Alzate,
Carol Young, Umberto Giangradi and Natalia
Gutierrez, Fundación Gilberto Alzate Avendaño,
Alcaldía Mayor de Bogotá, 2008, Bogotá, Colombia
4º Salón de Arte Joven, text by Ana María Lozano,
Galería El Nogal, 2008, Bogotá, Colombia
Alicia, Galería Arte Consultores, 2007, Bogotá,
Colombia
Feria Internacional de Arte Artbo 2006, Text by Elvira
Cuervo de Jaramillo, 2006, Bogotá, Colombia
Salón de Agosto 2006, Museo de Arte
Contemporáneo, Text by Gustavo A. Ortiz, Director
MAC, 2006, Bogotá, Colombia
Entre la cosa y la nada, Galeria Arte Consultores,
Text by Beatriz Esguerra, 2007, Bogotá, Colombia
PRESS
“Los percutores de la memoria”, by Mauricio Sojo,
Dinero & Estlo Magazine”, July 2011
“Cuatro Damas se toman la sala de la FCI”, El Nuevo
Siglo Paper, July 2011
“Recuerdos de Infancia”, Text by T. Sparrow, Semana
magazine Ed. 1410, 2009
“Art Show Zurich, Internationale Kunstausstellung”,
Inside Switzerland Magazine, Spring 2009
“Oa, sin moverme”, Editor Liliana López Sorzano,
El Espectador, Cultural Section, May 8 of 2009,
Colombia
“O,A, sin moverme…” Mundo Diners Section, Diners
Magazine, May 2009
“Arte Fresco Colombiano”, Editor Liliana López
Sorzano, El Espectador, Media Section, October 15
of 2008, Colombia
“No hay lugar para tanto arte joven”, El Tiempo,
Culture and People Section, October of 2008, CO
Ana González en la Bienal de Florencia, Italy,
Periódico Arteria, January 2008, Bogotá, Colombia
Obra de Colombiana fue Premiada en Florencia,
Editor Diego Guerrero, El Tiempo, Culture and
People Section, January 13 of 2008, Colombia
Desplazados llegan a Bienal de Arte en Florencia,
Editor Jackeline Carrillo, Modern Lifestyle Section, El
Periódico, November 15 of 2007, Colombia
“Mujeres y Vestidos”, un viaje sin regreso, Portafolio,
Weekend Section, January 26th of 2007, Colombia
“Alicia“ el conflicto segun Ana González, El Nuevo
Siglo, January 25 of 2007, Colombia
“Entre la Naturaleza y el Desplazamiento”, Cultural
Editor Maria Cristina Pignalosa, El Tiempo, January
20th of 2007, Colombia
“Ana Maria González ganó el premio del Museo de
Arte Contemporáneo de Bogotá”, El Tiempo.com,
Cultural Section, September 19 of 2006, Colombia
“Para una mujer sin nombre”, Cultural Editor Diego
Guerrero, El Tiempo, Culture and People Section,
September 1st of 2006, Colombia
“Las memorias de desarraigo”, Cultural Editor
Mauricio Sojo, El Espectador, May 15th of 2005,
Colombia
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Title: alicia
lost girl in El saldo Massacre, Colombia, 2011
technique: oil on canvas
size: 100 x 100 cms
FACTORY-ART gallery
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Title: rositas
sunday mess dresses, 2012
technique: porcelain
size: 13 x 8 cms each
FACTORY-ART gallery
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WORDS_FALLING. Performance. Haus am Waldsee,
Berlin
WORDS_FALLING. Performance. Sprengel Museum,
Hannover
WORDS_FALLING. Performance. Stadtgalerie, Kiel
1994 LICKING SALT, Barbara Weiss Gallery
1992 CONTRAPOSTO (STANDBEIN RECHTS_
SPIELBEIN LINKS). NGBK, Berlin (Cat.)
1992 KARRENBERG, Barbara Weiss Gallery, Berlin
(Cat.)
KATHARINA KARRENBERG - DE
EDUCATION
1962-66Visual Communication, Mainz
1976-80Sociology and Psychology, Frankfurt, Berlin
SELECTED SOLO SHOWS
2012 PRIORITHYL. AFFECTO_GRAMS FOR 12
PLAYERS. Reality Studios, Berlin. (Doc.)
2008 CINA_CINE_CRIME. Villa Romana, Florenz. Italy
(Cat.)
2005 R.A.U.S.CH._CATASTROPHES, Reality Studios,
Berlin.
2003 DIVENFORUM. Zeppelin Museum,
Friedrichshafen. (Cat.)
2002 R.A.U.S.CH. Performance, Karl Ernst Osthaus
Museum, Hagen. (Doc.)
2000 DEDICATED FOR ANNA OPPERMANN.
Performance. Sprengel Museum, Hannover.
1999 UNFERTIGE GEDANKEN. Performance,
Kunstverein, Siegen, (Book)
1998 LOTS OF DOTS. Installation und Performance.
Neuer Berliner Kunstverein, Berlin
1995 WORDS_FALLING. Performance.Staatsgalerie
Stuttgart
FACTORY-ART gallery
SELECTED GROUP SHOWS
2011 - THE PHILOSPHICAL BAKERY (3): FEEDING
THE ART SYSTEM No 3. Phil Niblock Gallery, Gent
2010 - GLÜCK_HAPPENS / LUCK_ HAPPENS.
Kunstpalais Erlangen. With B. Brenner, M. Hatoum, CH.
Jankowski, T. Rehberger, L. Simons et al. (Cat.)
- CELEBRATION. UQBAR Gallery, Berlin
2009 - LOB DER KRITIK / PRAISING CRITIQUE.
Frühsorge Gallery, Berlin
- ZEIGEN / SHOWING. Audio Guide by Karin Sander.
Kunsthalle, Berlin. (Cat.)
- ROTTE METROPOLITANE (Metropolitan Routes),
Villa Romana, Florenz, Italy
2008 - TRANS.VER’ 68, ver’.di Gallery, Berlin
2006 - DER GEGENSTAND / THE SUBJECT MATTER,
Badischer Kunstverein Karlsruhe
- AFTER THE BUTCHER, Beton, Sausage and Other
Ghosts. Curator: Thomas Kilpper, Berlin
2005 - WITHOUT BORDERS, Museum for
Contemporary Art, Belgrade, Czech Republic
2004 - GABRIELE MÜNTER AWARD - Show, Martin
Gropius Bau, Berlin (Cat.)
2003 - BERLIN-MOSKAU. Curators: Jürgen Harten,
Angela Schneider. Martin Gropius Bau, Berlin (Cat.)
2002 - MUSEUTOPIA. Karl Ernst Osthaus Museum,
Hagen (Cat.)
2001 - ARTISTENMETAPHYSIK. Haus am Waldsee,
Berlin 1999 (Cat.)
- MEMORIAL FOR JUNE 17th.,1953, Senate
Department for Urban Development, Berlin (Cat.)
1995/8 - LEIBLICHER LOGOS, 14 German Female
Artists. Staatsgalerie, Stuttgart, Altes Museum, Berlin,
.Museum f. Moderne Kunst Tampere, Finnland,
.Museum für Moderne Kunst, Oslo, Norway
.Museo DÀrte Contemporanea, Castello di Rivoli,
Turin, Italy
.Goethe Institute Brussels, Belgium
.Goethe Institute, Prague, Zcech Republic, etc. (Cat.)
1994 - VIOLENCE/DEALINGS, NGBK (Neue
Gesellschaft für Bildende Kunst, art society) Berlin (Cat.)
1993 - THE PHILOSOPHICAL BAKERY (2): FEEDING
THE ART SYSTEM No 2. 37 ROOMS. KW. Institute for
Contemporary Art,Berlin (Cat)
1992 - THE PHILOSPHICAL BAKERY (1): FEEDING
THE ART SYSTEM No 1. Installation mit Rikrit
Tiravanija und Warren Neidich. Goethe House, New
York (Doc.)
1991 - SOLUTION WITHOUT END. Installation im PS I
Museum, New York
- HEIMAT. PEOPLE WITHOUT ROOMS (VÖLKER
OHNE RÄUME) With: Ilja Kabakov, Guillaume Bijl,
Alfredo Jaar. Barbara Weiss Gallery, Berlin (Cat.)
TEACHING PRAXIS
1990-93 UDK Berlin (Universität der Künste, Berlin)
(lessons)
1993-95 UDK Berlin (Universität der Künste, Berlin)
(guest professor)
1995-96 MUTHESIUS-HOCHSCHULE, Kiel (guest
professor)
2002 HFBK Nürnberg (Hochschule für Bildende Kunst,
Nürnberg) (lessons)
2009 CARL VON OSSIETZKY UNIVERSITY Oldenburg
(project & exhibition)
CURATORIAL PRAXIS
1998-2000 Editor of the magazin „glükk“. (3 editions) A
co-operation project for artists and the supporting
artscene
2005 AVANTI MELANCHOLIA. Exhibition with artists.
Architekturmuseum,Tallin, Estland
2009 THE NUDE IS A POINT CLOUD. Exhibition with
students. University Oldenburg, Germany
AWARDS AND RESIDENCES
2008 Award for China-project: Foundation Kunstfonds,
Bonn
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2004 Award: Foundation Kunstfonds, Bonn
2003 Residency: ZF-Art Foundation, Friedrichshafen
2000 First Price / competition: MONTESSORI-School
am Rohrgarten,Berlin
1998 First Price / competition: MEMORIAL FOR JUNE
17th.1953,Leipziger Platz, Berlin
1997 Project award: Senate for Cultural Relations,
Berlin – female artist program 1993 Project award: Senate for Cultural Relations,
Berlin
1992 Residency award: PSI Museum. New York.
1988 Grant: Senate for Cultural Relations, Berlin
TEXTS BY THE ARTIST
2012 Katharina Karrenberg: THE LIST. Collection.
Publisher: REALITY STUDIES, Berlin
2009 Katharina Karrenberg. CINA_CINA_CRIME.
Close Enough To Mimesis, Feints, Fakes And
Pronta Moda. Nürnberg, 2009, Verlag für moderne
Kunst
-Katharina Karrenberg: RIFT. Notes On Chinese And
European Asthetics
-Katharina Karrenberg: Collections Of Quotes On
FACTORY-ART gallery
Issues Of Money, Power and Art.
2004 Katharina Karrenberg. WAS GRETCHEN SCHON
IMMER ÜBER KUNST IM ÖFFENTLICHEN RAUM
WISSEN WOLLTE. (What Gretchen ever wanted to
know about art in public space) In: „mit Bestimmung“.
Catalogue of the Exhibition of Kunsthochschule
Weissensee-Berlin
2003 Katharina Karrenberg. R.A.U.S.CH.© ZARA &
TUSTRA. DIVENFORUM. In: Catalogue of ZF
Art Foundation, Friedrichshafen. Publisher Robert
Gessler
2003 Katharina Karrenberg. L: Der Lover der
Prinzessin’. In: ‚dis-positiv’. Journal des Internationalen
Kunstprojekts von Richard Jochum in der Staatsbank
Berlin
2000 Katharina Karrenberg.... UNFERTIGE
GEDANKEN ÜBER DIE LIEBE (Unfinished Thoughts
on Love) . In: Rahmen aufs Spiel setzen. Editor Ziesche
/ Marr. Publisher Helmer, 2000
2000 Katharina Karrenberg. DENKMALE ALS
SYSTEMISCHE ORTE. (Monuments as systemic
spaces) In: Verlorene Inhalte / Verordnetes Denkmal.
Contributions to competitin 17. Juni 1953. Verlag Neue
Gesellschaft für Bildende Kunst, Berlin, 2000.
1999 g l ü k k _ TEXTE. Editions Nr 1-3. Oktoberdruck
Berlin
1994 Katharina Karrenberg. AKT DIE TREPPE
HINABSTEIGEND. (Nude descending the staircase)
In: The Magazine for Contemporary Art,2
1994 Katharina Karrenberg. LAGEPLAN (Site plan).
Cartography and exchange of letters as support
structure of the catalogue with Georg Bussmann. In:
„Übungsgelände“.
Europa - Nacken des Stieres, Exhibition catalogue.
Suhl, Germany
1994 Katharina Karrenberg. DAS FOTO DER
INSTALLATION (text on Gerhard Richter as the Artist’s
support structure). In: exhibition catalogue VIOLENCE/
DEALINGS (Gewalt / Geschäfte). Publisher Neue
Gesellschaft für Bildende Kunst, Berlin 1994
1994 Katharina Karrenberg. „BIOGRAFIE“. In:
exhibition catalogue „Leiblicher Logos“, Staatsgalerie
Stuttgart
1992 Katharina Karrenberg. LEER ZEILEN. Textbook
for the exhibition CONTRAPOST: STANDBEIN
RECHTS_SPIELARM LINKS, Published by Karrenberg,
Berlin.
PUBLCATIONS
2011 FONDS ZUR GUTEN AUSSICHT. Publikation der
Stiftung Kunstfond, Bonn
2010 GLÜCK_HAPPENS / LUCK_HAPPENS. Text:
Claudia Emmert. Kunstpalais Erlangen. 2010
2009 CINA_CINA_CRIME. Close Enough To Mimesis,
Feints, Fakes And Pronta Moda. Nürnberg,
2009, Verlag für moderne Kunst
- Beatrice von Bismarck: IN TEMPORÄRER
GLEICHZEITIGKEIT
- Clemens Krümmel: /22
-Katharina Karrenberg: RIFT. Notes On Chinese And
European Asthetics
-Katharina Karrenberg: Collections Of Quotes On
Issues Of Money, Power and Art.
2009 LOB DER KRITIK / PRAISE OF CRITIQUE. Text:
Ronald Berg. Collection of texts of Galerie
Fruehsorge, Berlin. 2009
2008 TRANS.VER 68. EIN TRANSFORMATIONSPROZESS
KÜNSTLERISCHER ARBEITEN AUS 68. Publisher:
Julia von Hasselbach, Elvira Hufschmid, Margit Schild.
2005 SCHRIFT BILDER DENKEN / SCRIPT
IMAGES THINKING. Die Kunst der Gegenwart und
Walter Benjamin / Contemporary art and Walter Benjamin.
Texts: Peter Herbstreuth, Katharina Karrenberg et al...
Publisher: Haus am Waldsee, Berlin,
2004 GABRIELE MÜNTER PREIS / GABRIELE
MÜNTER AWARD. Editors: Annemarie HelmerHeichele, Ulrike Mond, Marianne Pitzen. Publisher:
Georg Roth, 2004
2004 MIT BESTIMMUNG / CO MANAGEMENT.
Publisher: Ulrike Moor und Inge Mahn. Journal,
Berlin. 2004
2003 BERLIN-MOSKAU.: Editors: Jürgen Harten,
Joachim Sartorius, Peter-Klaus Schuster.
Publisher: Nicolai, 2003
2003 KATHARINA KARRENBERG. Texts: Regina
Michel, Katharina Karrenberg. Editor: ZF Art
Foundation, Friedrichshafen. Publisher: Robert Gessler,
R
al. Czech Republic , Nr. 2, 1994
1994 ÜBUNGSGELÄNDE / EXERCISE AREA. Europa
- Nacken des Stieres. Texts: Georg
Bussmann, Katharina Karrenberg et al. Suhl, Germany
1994 GEWALT/GESCHÄFTE / VIOLENCE/DEALINGS.
Editors: Frank Wagner, Gabriele Werner et
al. EdPublisher: Neue Gesellschaft für Bildende Kunst,
Berlin 1994
1991INTERFERENZEN. Kunst aus Westberlin. Editor:
Barbara Straka. Publisher: Nishen, Berlin
2003 DISPOSITIV. Texts: Richard Jochum, Katharina
Karrenberg et al. Publisher: Richard Jochum.
Journal, Staatsbank Berlin, 2003
2000 RAHMEN AUFS SPIEL SETZEN...Texts: Ziesche,
Karrenberg et al...., Editor Ziesche / Marr.
Publisher: Helmer, 2000
2000 VERLORENE INHALTE / VERORDNETES
DENKMAL / LOST CONTENTS / DECREEDED
MEMORIAL. Texts: Leonie Baumann, Sigrid Schade,
Silke Wenk,
Katharina Karrenberg, et al. Contributions to
competition 17. Juni 1953. Publisher: Neue
Gesellschaft für Bildende Kunst, Berlin, 2000.
1995 LEIBLICHER LOGOS. 14 Künstlerinnen aus
Deutschland. Texts: Gudrun Inboden, Katharina
Karrenberg, et al. Publisher: IFA, Institut für
Auslandsbeziehungen,
Staatsgalerie Stuttgart, 1995
1994 KUNSTFORUM INTERNATIONAL /
Betriebssystem Kunst. Bd. 125, 1994. Text: Thomas
Wulffen.
1994 THE MAGAZINE FOR CONTEMPORARY ART.
Texts: Barbara Straka, Katharina Karrenberg et
FACTORY-ART gallery
WORKS IN PUBLIC COLLECTIONS
IFA_Institute for Foreign Affairs, Stuttgart
Berlinische Galerie, Museum for Contemporary Art and
Photography
NBK (New art society/Neuer Berliner Kunstverein
Senate Department for Urban Development, Berlin
ZF Art Foundation, Friedrichshafen
Karl-Ernst Osthaus Museum, Hagen
Stiftung Kunstfonds Bonn (Documentation of the
assisted works)
- 1 Katalog. KARRENBERG. Hrsg. Galerie Wewerka
und Barbara Weiss, Berlin 1990
- 1 Katalog. KARRENBERG. Hrsg. RealismusStudio
der NGBK, Berlin 1992
- 1 Katalog, KARRENBERG. Kunststiftung
Friedrichshafen, 2003
- 1 DVD „WINTERREISE“ 06’09’’, 2007 + „APFE
LSINENKISTENRENNEN“. Mit Georg Winter und
StudentInnen. 5’28’’, 2006
- ZITATSAMMLUNG zu Ökonomie, Macht und Ästhetik
am Beginn der Renaissance in Italien.
- CINA_CINE_CRIME. Editor: Villa Romana, Florenz.
Publisher: Verlag für moderne Kunst, Nürnberg
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cultural constructs such as statics and the processual,
picture organisation and indifference, surface and depth,
time and space, the aesthetic and the political: all under
aspects of Fuchur*.
In the year 2000, with the long-term project R.A.U.S.CH._
PASSAGE Karrenberg began to question the occidental
construction of corporeal and indentity boundaries using
the following concepts: Risky, Aporetic, Unpredictable,
and Synchronical Changes. Various cycles of work
have developed from this project: looking at issues of
non-linearity, the disturbance of hegemonial orders, and
the function of cutting techniques in art. In this context,
philosophical loops, dancing batons and aesthetic
surfaces are recurrent fields of reflection, negotiated
in series of drawings, photographs, videos, sculptural
glass constructions and/or installations.
KATHARINA KARRENBERG is a fine artist specializing
in drawing and visual media and their interaction in sitespecific installations. Her creative work ranges from the
visualisation of meandering text- and image rhizomes to
work-progress projects and research on the aesthetic,
institutional and economic conditions of globalisations.
Her work is often focused around a phenomenon called
DIAGRAM_EXPANDED.
DIAGRAM_EXPANDED functions as a tool and an anchor
in the field of rhizomatic, synchronic social processes.
Traditionally, diagrams are an attempt to order the
unmanagable world in rationally comprehensible figures.
By contrast, DIAGRAM_EXPANDED accentuates
various other aspects of the diagrammatic: its openness
to investigate social relationships in the field of art, its
affective sides, the capacity to parody itself, and - not
least – the way it keeps the distinctions between diagram,
graph, symbol and notation in abeyance. Karrenberg
uses this openness in the form of sketches, scribbles and
drawings, in photomontages, short films and installations
in order to create permeability using various cutting and
connecting techniques, and in order to study dichotomic
FACTORY-ART gallery
*Fuchur is the friendly western dragon with many
Chinese traits
FRONT RANK
For the show (R)EVOLUTION I chose a small quantity
of red inc drawings which show the dramatic moment
bevor a battle: the swearing-in-ceremony, the point of
pure suspense. I present this event in three different
ways of representation opening the relationship between
artwork, gallery and an explosive political situation.
The original drawings are numbered: they are taken out
of my personal drawing archive named R.A.U.S.CH._
PASSAGE. (see: HYPERLINK “http://www.katharinakarrenberg.de” www.katharina-karrenberg.de) This
archive functions as a pool of ideas which culminate
under specific conditions. FRONT RANK repeats the
grand theatrical political gesture and refers in this case
to juxtapositions between different formats of exhibiting,
performing and personal involvement.
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Title: FRONT RANK 3, 2003
Original point-drawing. 16 parts of a swearing-inceremony. Taken out of R.A.U.S.CH._PASSAGE
technique: inc drawing, numbered and tape-framed
size: 58 x 99cm
FACTORY-ART gallery
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Title: FRONT RANK 1, 2012
Detail of a swearing-in-ceremony mirroring the trees and
the outdoor display in front of FACTORY-ART Gallery,
Berlin
technique: fotograf
size: 40x60 cm
FACTORY-ART gallery
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19. juuni)
VEIKO KLEMMER - EE
Born: 12.06.1985
Education:
2009 University of Tartu, Master of Arts
2007 University of Tartu, Bachelor of Arts
Personal Exhibitions:
2011 Ritual / Rituaal, Aatrium gallery, Tallinn
Commentaries on lifeless sociopolitical rituals
2010 Object/Subject, With Martiini and Urmo Mets in Ygallery, Tartu Inter-relationships of space- and mind
constructions
(Press: Ksenofontov, Andri Tingitud arhitektuur – Sirp
29.10.10 )
2010 Fear / Hirm, With Laura Põld in Draakon gallery,
Tallinn Instruments of fear
(Press: Kangor, Eero 2010 Galeriiring meeste ja naiste
maailma – Sirp 29. juuli )
2009 Spring, followed by Fall / Kui kevadele järgneb
sügis Masters degree exhibitons in
the grand galeery of Tartu Kunstimaja Dystopias and
alternative realities
(Press: Talvistu, Tiiu 2009 Pallast taga hüüdmas – Sirp
FACTORY-ART gallery
Group Exhibitions:
2012 CDH-2012. Roads and paths.
Select works from International Confederation of Artists
Unions Central House of Artists, Moscow
Curators: Margarita Karlova,
2011 Baltic Young Painters Prize Finalists Exhibition
Select works by international jury.
Art center Titanikas, Vilnius
Organizers: Vilmantas Marcinkevičius, Julija
Petkevičienė
2011 Simple Story
Estonian Young Painting
Rakvere, Virumaa Muuseumide Näitusemaja
Curator: Teet Veispak
(Press: Grünfeldt, Inna Eesti noor maal räägib lihtsat
lugu – Virumaa
Press: Juske, Ants Kas maalikunst on imelihtne?
– Postimees 11.10.11)
2011 Abstract / Abstraktne
Estonian Artists Association’s XI annual exhibition in
Tallinn Kunstihoone Curator: Leonhard Lapin
(Press: Levin, Mai Kui abstraktne on abstraktne kunst?
– Sirp 28.07.11)
2011 Convert / Konverteeri
Estonian Painters Association farewell exhibition
dedicated to previous national currency. Tallinn,
Rotermann Curators: Karin Hallas-Murula, Mari
Roosvalt, Jaan Elken
(Press: Soans, Hanno Euro tõi küsimused? – Sirp
28.01.11)
2010 The Last Painting / Viimane maal
Estonian Painters Association annual exhibition in Tartu
Kunstimaja Curators: Maarit Murka, Rauno Thomas Moss
(Press: Varblane, Hannes Seekord sedamoodi – Sirp
08.10.10)
2010 Confrontations / Vastandumised
Estonian Artists Association’s X annual exhibition in
Tallinn Kunstihoone
Curator: Enn Põldroos
(Press: Elken, Jaan; Paavle, Jaan 2010 Hästi
komponeeritud näitus – Sirp 05. august)
2009 The Language of Painting / Maali sõna vol. 2
Estonian Painters Association in Tartu
Kunstimaja
Curator: Harry Liivrand
(Press: Juske, Ants 2009 Eesti maalikunst pole veel
surnud – Eesti Päevaleht 28. sept.)
Curated:
2011 Pure / Puhas
Interpretations of young artists on a theme “pure
materials, pure ideas, pure feelings”
März project space, Tallinn
(Press: Kaljula, Liisa Minimalism on aktuaalne – Sirp
28.07.11)
2011 „2031“
On the 20th anniversary of the Estonian reindependence the artists were asked to reflect
upon the next 20 years to come.
Tartu Kunstimaja.
Awards:
2009 DoRa stipendium
2008 Wiiralti stipendium
2007 Kalmuse nimeline noore kunstniku stipendium
Artist Statement:
I have many different approaches to my work, but it
seems they all deal with the human condition. That state
where we are right now and it\s possible alternatives ....
For example these works take the position of pushing the
sense of \color\ further than just paint. By using coloured
lights and rational aesthethics the visual sensation is
addressed by questions like \how much whiteness can
one fit into given space\ and \how much one can abstract
landscape without losing the essential feeling of it\.
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VEIKO KLEMMER - EE
Title: mono, 2011
We all know white, but still, can one go even whiter?
Prototype (not suitable for livingroom decoration)
technique: wood, light, paper
size: 85x65x10 cm
FACTORY-ART gallery
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VEIKO KLEMMER - EE
Title: deep red horizon, 2011
How much abstraction can one squeeze into landscape
without losing the essential perceptual feeling of the
thing? Prototype (not suitable for livingroom decoration)
technique: wood, light, enamel
size: 85x65x10 cm
FACTORY-ART gallery
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1988 Midway Forum Gallery, Toronto “Devils in
Disguise” show
1983 Idee Gallery, Toronto
ANITA KUNZ OC DFA RCA - CA
BORN
1956 Toronto Canada
EDUCATION AOCA degree received from the Ontario
College of Art, Toronto (1978)
Honorary doctorate received from The Ontario College
of Art and Design (2010)
SOLO EXHIBITIONS
2008 Laguna College of Art and Design, California,
“Satirical Conclusions”
2007 Art Institute of Boston, USA
2003 Swann Gallery, Library of Congress, Washington DC
2001 The Art Academy of Cincinnati, Cincinnati
2001 Art Institute of Southern California Laguna Beach
Art Academy of Cincinnati, Ohio
2000 Museum of American Illustration, New York, midcareer retrospective
1997 Creation Gallery, Tokyo Japan
1996 Richard C. von Hess Gallery, University of the
Arts, Philadelphia
1995 Govinda Gallery, Washington DC
1994 Foreign Press Center, New York
FACTORY-ART gallery
GROUP EXHIBITIONS
2014 Dorthy Circus Gallery, Two Person Exhibition,
Italy Rome
2012 Ontario College of Art and Design Auction,
Toronto Canada
Factory Art, Group Exhibition Berlin Germany
“Motion” Group Exhibition, Corey Helford Gallery,
Culver City, CA
Annual Exhibition, Gallery House, Toronto Canada
2011 “In the Nursery” Corey Helford Gallery, Culver
City, CA
Phillips de Pury & Company Special Project with
Polaroid & Lady Gaga Exhibit, New York, NY
“Highly Desirables” Manny Neucbacher Gallery, Toronto
Canada
Petit Papier Group Exhibition, Paris France
2010 Richard Goodhall Gallery, Manchester England
Affordable Art Fair London England
Newcastle Gateshead Art Fair, London England
Earth:Fragile Planet show, Saddleback College Art
Gallery, Mission Vallejo, CA
“Where is my vote?” group show, School of Visual Arts
gallery, NY
American Illustration Timeline show, Point Ephemere,
Paris
American Illustration Timeline show, Geneva
The Naughty show, 2 person show, Gallery one800,
Toronto
“Picture Mechanics” group show, Billy Shire Gallery,
Los Angeles
Gallery Nucleus, Los Angeles, group show
Cal State University, Carson California, group show
Museum of American Illustration group show
Burger Art Gallery, group show, Union New Jersey
2009 Four Walls Gallery, Dallas Texas, group show
Spazio Dell Arte gallery, Toronto
Villa Bernasconi Museum. Geneva, “AI25 Timeline”
show
Museum of American Illustration Group show
2008 Delavan Gallery, Syracuse, “The Last Picture
Show”
The Veil: Visible and Invisible Spaces, de Saisset
Museum, Santa Clara
Songjiang Museum, Shanghai, China, “Eco X” show
Indianapolis Museum of Contemporary Art, “Hansel and
Gretel” show
Foster Gallery, Haas Fine Arts Center, Eu Clair
Wisconsin, “Meaning and Metaphor” show Teatrio,
Venice Italy, Female artists show
Dairy Art Center, Boulder Colorado “The Veil..Visible
and Invisible Spaces” show
The Wolfsonian Museum, Miami “Thoughts on
Democracy” show
Art Basel Miami, Wolfsonian Museum “Thoughts on
Democracy” show
Williamson Gallery, Los Angeles, “American Illustration
25 Timeline” show
2007 Museum of Contemporary Art, Shanghai, China,
“Eco X” Show
Museum of American Illustration New York, “Artists
against the War”
GalleryMet, New York, “Hansel and Gretel” show
Selby Gallery, Sarasota, Florida
Quirk Gallery, Richmond Virginia, “Tables to Walls”
show
Devos Gallery, Michigan “Another Voice” show
Female Artists show, Naples, Italy
Storyopolis Gallery Los Angeles, two person show
2006 Associazione Culturale Teatrio, Venice Italy
Cube Gallery Ottawa Canada
Bountiful Davis Art Center, Bountiful Utah
Storyopolis Gallery, Los Angeles
2005 The Norman Rockwell Museum, Stockbridge
Massachusetts “The Art of the New Yorker”
The Maritime Gallery, Mystic Connecticut “Illustrating
the sea”
New Hampshire Institute of Art, NH
Heuswater Art Center, Sloane College of Fine Art,
Peoria Illinois
Memphis College of Art “Another Voice” show
Galleria Communale d’Arte Contemporanea Al
Montirone, Albano Terme Italy
2004 Van Brunt Gallery New York, “Ambush” show
Exploding Head Gallery, Sacramento
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ANITA KUNZ OC DFA RCA - CA
The Norman Rockwell Museum, “Women in Illustration:
contemporary visions and voices” show
2003 Center Galleries, College for Creative studies,
“Between the lines” show
Zeitgeist Gallery, Nashville Tennessee
2001 Selby Gallery, Sarasota Florida
Northridge Galleries, California State Universitly at
Northridge
2000 Galleria Communale d’Arte Moderna e
Contemporanea, Rome, “America Illustrata” Show
The Norman Rockwell Museum, Stockbridge
Massachusetts “Eye on America” Show
Rafaella Guidobono Advertainment Inc, Milan Italy.
“Booked” show
Galleria Civica d’Arte Contemporanea, Padova Italy,
travelling show also in Bolzano, Reggio Calabria and
Cagliari, Italy
The Art Directors Club Gallery, New York
Il Salone della Cassa di Risparmio, Venice Italy
Wilhelm-Bush Museum, Hannover Germany,
“Recent Art of the New Yorker’ show
FACTORY-ART gallery
1999 The Norman Rockwell Museum, Massachusetts,
“Eye on America” show
1996 The Painted City gallery, Toronto
Leo Kamen gallery, Toronto
Storyopolis, Los Angeles
1995 Leo Kamen gallery, Toronto
1993 San Jose State University, USA “the Art of
Politics” show
1992 Bunkamura Gallery, Tokyo Japan
Itoya Gallery, Ginza Japan
1991 Lustrare Gallery, New York
Illustration Gallery New York, “Erotica show”
Barney’s store, NYC, window show
1990 Idee gallery Toronto, group show
1989 Canada House Gallery, Trafalgar Square,
London, 2 person show
Idee gallery Toronto, group show
The Illustration gallery, New York City
1988 Idee Gallery, Working Women show
Berlingesichtsmuseum, Berlin, group show
1987 SMU Art Gallery, North Dartmouth
Massachusetts, “Public I’s “ show
The Illustrated Gallery, Toronto
BIBLIOGRAPHY
2010 Taschen Books, Portraits Now
Japanese Illustration, issue 186, Tokyo
2009 The world’s best Illustrators, Luerzers Archive
Publishing
2008 Taschen Books, Illustration Now
2007 An Anthropomorphic ABC, Canada
2005 3x3 Magazine, New York
2002 Nuvo Magazine, Art and Evolution
2000 Rolling Stone: The Illustrated Portraits, Chronicle
Books, USA
1995 The Business of Illustration, New York
1993 Creation Magazine, number 17, Tokyo
1992 Nuvumgebrauchsgrafik, Switzerland, October 10
1999 Illustration Magazine Japan, Tokyo march issue
1996 Illustration America: 25 Outstanding Porfolios
1990 IDEA magazine number 220, Tokyo
1989 Step by Step magazine, USA October
Applied Arts Quarterly, Canada volume 3
Design Journal Korea, april issue
1986 IDEA magazine, number 195, Tokyo
1984 Communication Arts Magazine, September, USA
1983 Graphis Magazine, Zurich September
ACKNOWLEDGEMENTS
Hamilton King Award, Museum of American Illustration
Inducted into the Royal Canadian Academy of the Arts,
2007
Voted one of the 50 most influential women in Canada
by the National Post newspaper
Lifetime Achievement award from the Advertising and
Design club of Canada
Awards from American Illustation new York, 1981-2010
Annual awards from CA annuals, 1984-2010
Annual awards from Society of Illustration annuals,
1985-2010
Honorary Doctorate from the Ontario College of Art and
Design University
Appointed as an Office of the Order of Canada,
Canada’s highest civilian honor
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ANITA KUNZ - CA
Anita Kunz has recently been appointed an Officer of
the Order of Canada, Canada’s highest civilian honour
by her Excellency the Right Honourable Michaëlle Jean,
Governor General of Canada. She has recently received
an honorary doctorate from the Ontario college of Art and
Design in Toronto. Anita has lived in London, New York
and Toronto, contributing to magazines and working for
design firms, book publishers and advertising agencies
in Germany, Japan, Sweden, Norway, Canada, South
Africa, Holland, Portugal, France and England. Her
clients include Time magazine, Rolling Stone, Vanity
Fair, The New Yorker, GQ, The New York Times, Sony
Music, Random House Publishing and many others.
Articles about her work have appeared in Graphis
and Novumgebrauchsgrafik magazines (Switzerland),
Communication Arts and Step by Step magazine (USA),
Idea, Illustration and Creation magazines (Japan),
Applied Arts (Canada), Nuvo (Canada) and The Design
Journal (Korea). From 1988 to 1990 she was one of two
artists chosen by Rolling Stone magazine to produce a
monthly illustrated History of Rock ‘n Roll end paper. She
has produced cover art for many magazines including
Rolling Stone, The New Yorker, Sports Illustrated,
FACTORY-ART gallery
Time Magazine, Newsweek Magazine, the Atlantic
Monthly and The New York Times Magazine. She
has also illustrated more than fifty book jacket covers.
Anita frequently teaches workshops and lectures at
universities and institutions internationally including the
Smithsonian and the Corcoran in Washington DC.Her
summer workshops are conducted at the Illustration
Academy in Sarasota Florida, and at the Masters of Art
degree program at Syracuse University. She has been
honored with many prestigious awards and medals and
her critically acclaimed paintings and sculptures have
appeared in galleries world wide, including the Norman
Rockwell Museum in Massachusetts and the Teatrio
Cultural Association in Rome Italy. Her works are in
the permanent collections at the Library of Congress,
the Canadian Archives in Ottawa, the Musée Militaire
de France in Paris, the Museum of Contemporary Art
in Rome, and a number of her Time Magazine cover
paintings are in the permanent collection at the National
Portrait Gallery in Washington DC. In 1987 she showed
a collection of her works at Canada House in Trafalgar
Square London. In 1997 she had a one woman show
at the Foreign Press office in New York City, in 1998
she had a solo show at the Creation Gallery in Tokyo,
and the Society of Illustrators Museum of American
Illustration mounted a mid-career retrospective of her
work in the fall of 2000.
She has also had solo shows at the Govinda Gallery in
Washington DC and more recently at the Art Institute of
Boston.In the fall of 2003 she was the first woman and
the first Canadian to have a solo show at the Library of
Congress in Washington DC. In 2000 she was invited
to speak as one of The New Yorker magazine cover
artists at the annual New Yorker Festival in New York
and in 2001 and again in 2004, she was invited to speak
at ideaCity, a think tank of luminaries from the fields
of medicine, politics, science and the arts in Toronto.
In spring of 2007 Anita gave a presentation about her
New Yorker covers at the prestigious TED conference
in Monterey California. From 2000 to 2003 she served
on the Board of Directors of the Illustrationconference.
In 2004 she is served as chair for the Society of
Illustrators Museum of American Illustration annual
exhibit and she has most recently served as chair of
the Museum Committee there. In 1997 she received the
Les Usherwood Lifetime Achievement Award from the
Advertising and Design Club of Canada.
In 2009 she was one of 100 artists asked by Google
to contribute an image for Google Chrome along with
Jeff Koons, Jenny Holzer, Dale Chihuly and Vivienne
Westwood. Anita has been named one of the fifty
most influential women in Canada by the National Post
newspaper.
Statement
For nearly three decades Anita Kunz’s work has been
published widely and internationally. She has been
concerned with political systems and social justice,
and her work has reflected her concern for the human
condition. More recently in what can be considered
Chapter 2, Kunz has come to realize the limits of
political solutions and has begun to focus instead on
anthropological origins of our collective behavior as a
means of understanding the frailty of our existence.
To this end she examines gender politics, our brutish
treatment of animals and recent discoveries in
neuroscience that overtly clash with accepted religious
doctrines.
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ANITA KUNZ - CA
Statement
For nearly three decades Anita Kunz’s work has been
published widely and internationally. She has been
concerned with political systems and social justice,
and her work has reflected her concern for the human
condition. More recently in what can be considered
Chapter 2, Kunz has come to realize the limits of
political solutions and has begun to focus instead on
anthropological origins of our collective behavior as
a means of understanding the frailty of our existence.
To this end she examines gender politics, our brutish
treatment of animals and recent discoveries in
neuroscience that overtly clash with accepted religious
doctrines.
FACTORY-ART gallery
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ANITA KUNZ - CA
Title: The marked 1 tattooed dog, 2012
technique: acrylic
size: 30”x40”
courtesy “Anita Kunz/Gallery House”
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ANITA KUNZ - CA
Title: The marked 2 tattooed cat, 2012
technique: acrylic
size: 30”x40”
courtesy “Anita Kunz/Gallery House”
FACTORY-ART gallery
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The most prominent, often almost imperceptible tension
of Helka Immonen´s paintings seems to develop when
the artist, - while sketching a painting - instead of
attaching to either abstract or figurative form, refrains
from making a statement and proceeds in silence to ask
the painting´s own, innermost mind.
HELKA IMMONEN - FI
Born 1954 in Helsinki, Finland
Lives and works in Espoo, Finland
Studies in The Free Art School of Helsinki and The Art
Studio of The University of Helsinki, BA in Art history.
Several solo exhibitions in Finland and numerous group
exhibitions in galleries and art museums in Finland and
abroad.
Member of Finnish Painters´ Union and Espoo Visual
Artists.
My paintings develop slowly by chance and intuition, by
adding several thin layers of oil color one upon the other.
In my works inner feelings and emotions are related to
physical events or objects – changes of the weather, the
times of the day or visual elements and forms seen in
architecture and in the nature.
Helka Immonen
FACTORY-ART gallery
This subtle openness brings about to the paintings an
all but tangible feeling of boundaries – from abstract
to figurative – from inside to outside – from closed to
open spaces. These contrasts create an impression of
a line drawn in the sand in the ambient space of the
paintings. It may happen that a door is opening where
there was only color or a surface permeating light – at
the last minute and so abruptly that not even a shadow
will arise. Imperceptibly a time dimension has emerged
in the painting - a perspective that reveals a sight to its
possibly prolonged morphogenesis in the mind of the
artist.
Or the process is reverse: some element from the
beginning of the painting process évaporates´ and
becomes almost weightless with the passing of time.
The outcome still shares some of the traits of the initial
phase: it is slow yet not lagging – aerial yet deep in its
translucency.
It is perhaps fitting to describe the spatial states thus
generated as ínnate´ and lacking all externality and
artificiality.
Liisa Immonen
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HELKA IMMONEN - FI
Title: Reflections, 2007
abstract painting
size: 65x65 cm
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HELKA IMMONEN - FI
Title: Oasis, 2010
abstract painting
size: 61x65 cm
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Print:
2006 Kunstbeeld Preview solo show Gallery Masters/
Benjamin Baumgarten
INSIDE artzine #10 1/2 (D) Special issue; Terror/
Playmobil 911
INSIDE artzine #11 (D) Benjamin Baumgarten
Blog (selection):
reluct.com Blake/Benjamin Baumgarten/Braam
acidolatte.blogspot.com Blake
colinoscopy.tumblr.com Blake
sympathyfortheartgallery.com Blake
valentinatanni.com Benjamin Baumgarten
mocoloco.com Benjamin Baumgarten
artbbq.nl Benjamin Baumgarten
Online project:
theartproject.com Artist respond to terrorism/Playmobil
& Minced meat (NWhy)
OLGER - NL
Olger (1973)
Living in Amsterdam
Educated in Graphic Design and Advertising
Solo exhibitions:
2011 Puntspatie Amsterdam Benjamin Baumgarten
2011 Webster Art Gallery Leiden B/Blake
2006 Gallery Masters Amsterdam Benjamin
Baumgarten
Group exhibitions (selection):
2011 Gallery de Meerse Hoofddorp Human Nest/
Benjamin Baumgarten
2007 W139 basement Amsterdam Benjamin
Baumgarten
2004 Gallery twenty-four Berlin (D) Benjamin
Baumgarten/Paintings/Concept
2004 Art in Progress De Pinte (B) Benjamin
Baumgarten/Paintings
2003 Frozen fountain (store) Amsterdam Milk
2003 Walls Amsterdam Paintings
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OLGER - NL
Title: title: Blake #3, 2008
Blake is a PU-resin mask complete with handlike gloves,
worn by the artist on locations.
technique: photograph
size: 20 x 40 cm
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OLGER - NL
Blake no.5 (2009)
It’s an early February afternoon and freezing cold. My
thin fingers feel numb. I can’t see a thing. In the distance
I hear gun shots. There is a practice range of the army
not far from here. I don’t care, I’m wearing Blake. I’m
inside someone, someone I know, someone I love. It
feels ecstatic; the soft inside of the pink helmet surrounds
my head, nothing to see, just to be. ‘Please take another
picture’, I shout to my good friend Iris. ‘How is the light?
’, ‘did you check? ’, ‘do you want me to move?’ Iris is
taking pictures of me standing on a crossroad, mud
everywhere, and I’m standing in the cold being ‘Blake’.
Title: Blake #5, 2009
Blake is a PU-resin mask complete with handlike gloves,
worn by the artist on locations.
technique: photograph
size: 20 x 40 cm
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2011 Charity auction at Sotheby’s in Milan curated by
Clare Channels.
2010 “A rare medium well done.” At Moxie Studios in
gallery Dublin.
2009 Dovadola e i giovani artisti riminesi curated by
Marisa Zattini and Vittorio D’Augusta
2009 Group Exhibition of Art-Science Competition
2009, Prize Foundation at Goinelli
Palazzo Re Enzo in Bologna
Awards
Winner CoCoCo (Como contemporary Contest) 2011
edition
Selected for drawing section catalog of the Combat
Award 2011
Finalist San Fedele 2010-2011,
Finalist AwardArt-Science 2009 edition.
VALENTINA PERAZZINI - IT
Valentina Perazzini born in Rimini in 1987
Education:
2011 Degree in painting at Academy Fine Arts of
Bologna with 110 cum laude
2010 Erasmus at NCDA (National College of Art and
Design) in Dublin.
Solo exhibition
2012 “Margheritario”curated by Domenico Maria Papa
at the Art Gallery Nuvole Contemporary (BN)
2011 Solo exhibition of the prize Co.Co.Co. at the area
of San Pietro in Atrio Como
Group Exhibition:
2012 “Ecoanimali” curated by Maria Letizia Tega and
Simona Gavioli at Spazio Un1co Bologna
2011 “Paintings of Summer” to the Gerra space in
Reggioemilia.
2011 Group exhibition of prize San Fedele “E uscimmo
a riveder le stelle(And we went out to see
again the stars .. )
FACTORY-ART gallery
Pubblication
2011 Co.Co.Co. Contest text by Vittoria Coen
2011 Combat Contest
2011 San Fedele Contest “Uscimmo a riveder le stelle”
text by Chiara Canali
2011 Sotheby’s Milano charity action
2010 Rare medium well done
2009 Dovadola e i giovani riminesi text by Giacomo
Bartolucci
Commissioned:
2011 “Parole per musica fiorite”(Words for music
flourished) Palazzo Verbania Luino (VA)
dedicated to Vittorio Sereni, curated by Chiara Gatti.
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The attention of the artist is focused in the nature.
A nature seen in a taxonomic way, maybe closer to
science than art.
Many artistic experimentations look at the nature to
find something that we lost when modernity came; in
Valentina Perazzini’s work, instead, there is an objective
classification, without nostalgia or utopia, with which to
make the relationship with the nature more real and
usual.
Grass, lawns, flowers, taken in their entirety, mediated
by drawing and photography or reproduced by other
materials are the palette with which the artist builds its
own original language.
The act of classification - according to Domenico Maria
Papa – recalls the work of naturalists that, between the
late XVIII and early XIX century, had not seen yet the
birth of a new biology with modern scientific method.
This classification act is due to the necessity of turning
the natural phenomena to an abacus usable by human
mind.
Direct observation, formed by naturalists and supported
by good use of drawing techniques, are indispensable
tools to determine the difference between various
species.
Today we differentiate the species looking at their genetic
heritage, so on a microscopic scale and, therefore, out of
sight. Instead, at the beginning of modern science, the
scientist refined the observation’s skills of the artists with
the morphological description of the nature.
Valentina Perazzini dwells on this ancient fork between
art and science, before their final separation that we
know, to recover the esplicative purpose of art together
with the visionary capabilities of science.
The value of her research is, therefore, in this balance
between art and science that is difficult but useful to
knowledge exercising.
Artist’s installations are completed by literary references
that offer one further mediation, the language. Also the
choice of authors follows a coherent range, from Walt
Whitman, the famous poet of Leaves of grass, to Emile
Zola, whom book has been read as an herbarium, and to
Italo Calvino’s Palomar.
From the last author we can get the quote (and further
suggestions can be found in the work of George Perec)
that best expresses the artist’s poetry:
“Contare quanti fili d’erba ci sono, di quali specie, quanto
fitti e come distribuiti. In base a questo calcolo si arriverà
a una conoscenza statistica del prato, stabilita la quale...
Ma contare i fili d’erba e inutile, non s’arriverà mai a
saperne il numero. Un prato non ha confini netti, c’è un
orlo dove l’erba cessa di crescere ma ancora qualche
filo sparso ne spunta più in la, poi una zolla verde fitta,
poi una striscia più rada: fanno ancora parte del prato o
no?”
Domenico Maria Papa
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Title: M’ama non m’ama (he loves me or loves me not),
2012
The daisies lose all their petals as the game he loves me
or loves me not become something hypnotic repeating
indefinitely
technique: video-installation
size: variable
FACTORY-ART gallery
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WALTER UNGERER - US
EDUCATION
Columbia University PD, MA 1964
Pratt Institute BFA 1958
PROFESSIONAL EXPERIENCE (Partial List)
Media Artist 1964-present
Media Producer/Director, Dark Horse Films, Inc. 1976present
Adjunct Professor (film/video production), University of
Vermont, VT 1994-2004
Visiting Artist, Syracuse University, NY 1997
Visiting Artist (advanced film/video production),
Dartmouth College, NH 1990
Adjunct Professor (photography), Norwich University,
VT 1989-91
Professor (film production), Goddard College, VT 196977
Instructor (film production), Columbia University, NY
1966-69
Freelance film production 1964-66
FACTORY-ART gallery
FILMOGRAPHY/VIDEOGRAPHY (Partial List)
PARVA SED APTA MIHI (mpeg4, 17:02m. ) 2012
MONARDA (mpeg4, 10:09m.) 2010
ALL THE DAYS OF THE YEAR (mpeg4, 67:39m.) 2010
BLUE PARROT (mpeg4, 12:23m.) 2009
EPITAPH (mpeg4 and miniDV, 9:45m.) 2008
THE BIRD FEEDERS (miniDV, 13:48m.) 2008
RANDOM BITS OF UNKNOWN SIGNIFICANCE
(mpeg4, 54:22m.) 2007
INSIDE-OUTSIDE (installation) 2005
AND ALL THIS MADNESS (miniDV, 79 m.) 2003
KINGSBURY BEACH (computer & S-VHS, 6:21
minutes) 1999
THE WINDOW (computer & 3/4SP, 3:54 minutes) 1997
LEAVING THE HARBOR (16mm, 77m. - funded by
National Endowment for the Arts) 1992
THE SYRACUSE TAPES (six-monitor video installation,
30m.) 1989
THE WINTER THERE WAS VERY LITTLE SNOW
(16mm, 75m) 1982
THE HOUSE WITHOUT STEPS (16mm, 90m. - funded
by the American Film Institute) 1979
THE ANIMAL (16mm, 75 minutes) 1976
OOBIELAND (16mm - 5 Part Series) 1969-74
MEET ME, JESUS (16mm, 15m.) 1966
THE TASMANIAN DEVIL (16mm, 20m. - documentary)
1964
AWARDS AND EXHIBITS (Partial List)
Syracuse International Film Festival: Installation ALL
THE DAYS OF THE YEAR 2010
Echo Park, Los Angeles: Retrospective 2008
Filmforum, Los Angeles: Retrospective 2008
Squeaky Wheel, Buffalo, NY: Recent Ungerer work
2008
Vermont International Film Festival: Ungerer
Retrospective 2007
Farnsworth Museum, ME: Selected Ungerer Films,
August 20 2006
Lichtmess Kino, Hamburg, Germany: Ungerer selected
works 2006
Kommunales Kino, Kiel, Germany: Ungerer selected
works 2006
Bessie Award: Animation, City Arts, Burlington, VT 1997
Wood Arts Center and Gallery, VT: Ungerer
Retrospective 1996
CV-RÉSUMÉ
Page 2 of 2
NE Film & Video Festival - Outstanding Narrative
Award, LEAVING THE HARBOR 1992
Vermont Community Foundation Individual Artist Grant
1991
Museum of Modern Art, Cineprobe, NYC - LEAVING
THE HARBOR 1991
Vermont Council on the Arts Individual Fellowship 1985
Houston International Film Festival, Bronze Award: THE
WINTER THERE WAS VERY
LITTLE SNOW 1984
National Endowment for the Arts Media Arts Grant 1983
Museum of Modern Art, Cineprobe, NYC: THE WINTER
THERE WAS VERY LITTLE
SNOW 1983
Atlantic Film and Video Festival, Critics’ Choice Award,
NS, Canada:THE WINTER
THERE WAS VERY LITTLE SNOW 1983
Athens International Film Festival, Merit Award: THE
WINTER THERE WAS VERY
LITTLE SNOW 1983
Museum of Modern Art, Cineprobe, NYC: THE HOUSE
WITHOUT STEPS 1981
Florence (Italy) International Film Festival: THE
ANIMAL 1979
Tours (France) International Film Festival: THE ANIMAL
1978
Museum of Modern Art, Cineprobe, NYC: THE ANIMAL
1978 American Film Institute Independent Filmmaker
Grant 1977
Athens International Film Festival, OH: Golden Athena
Best Feature Film; THE ANIMAL 1977
Vermont Council on the Arts Filmmaker Grant 1976
Museum of Modern Art world tour: UBI EST TERRAM
OOBIAE? 1970
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WALTER UNGERER - US
STATEMENT
Within me lies the soul, absolute truth. It resides in us all.
My work emanates from there. No intellect is required,
only honesty. It presents itself as the spirit of my work.
More is unknowable. When respected, the mystery that
is life in all its aspects is my way. This I believe.
FACTORY-ART gallery
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WALTER UNGERER - US
Title: PARVA SED APTA MIHI
This work is an exploration of digital still camera motion
clips I recorded while visiting the downtown art district of
Los Angeles. In retrospect one can say the end result is very
different from the beginning, as is so often the case. Initially,
material shot with a digital still camera of a visit through
the art district of downtown LA during “art walk” day, was
the starting point. Once it was transferred into a computer
editing system, the realistic imagery of people, places and
things, was transformed into explorations of shapes, patterns,
colors, text, rhythms and sounds. It was stretched, squeezed,
turned upside down, continuously repeated and otherwise
distorted both in picture and sound…with playful intentions.
Some obscured somewhat recognizable images do remain: a
face, eyes, sunglasses, a street corner, a police car, a woman
singer and an outdoor concert, another woman eating a piece
of cherry pie at a restaurant. They invite interpretation and
meaning yet remain illusive.
technique: mpeg4
size: 17min. 13sec.
FACTORY-ART gallery
http://vimeo.com/38588136
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WALTER UNGERER - US
Title: MONARDA, 2010
This work is an exploration through digital manipulation
of some motion clips I recorded in my garden of various
plants, flowers, birds, and insects. Initially the material
was shot with a digital still camera, then transferred into
a computer editing system where the realistic imagery
of birds, plants and flowers, were transformed into more
abstract explorations of shapes, patterns, textures, colors,
rhythms and sounds; in particular the continuous drone of the
hummingbird. I limited myself to only a few motion clips (film
sequences), which were stretched, squeezed, turned upside
down, continuously repeated and otherwise distorted both
in picture and sound…with playful intentions. As the project
developed, a theme began to emerge. From obscure imagery
to recognizable avian, the daily drama for survival of the
hummingbird, is revealed.
technique: mpeg4
size: 10min. 15sec.
FACTORY-ART gallery
http://vimeo.com/28738933
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light and perspective. Reagan’s favorite subjects are
portraits –both people and animals. The subjects of
Reagan’s portraiture often depict a clear, sometimes
striking, direct gaze. Eye contact is an interesting and
reoccurring theme.
He has been selected as the featured artist for the 2012
University of Minnesota Amplatz Children’s Hospital
WineFest No. 17. His painting, “Cafe at Night,” provides
the inspiration for the two-day event. The William Gordon
Winery of California also uses six of Reagan’s pieces as
part of their award winning wine labels.
Reagan’s art is held in collections gracing the walls of
private and public residences, law offices, investment
firms and physician clinics. His work is currently on
permanent display at Sunfish Cellars in Lilydale,
Minnesota and University of Minnesota Autism Spectrum
Disorders Clinic.
GUEST ARTIST
JIMMY REAGAN - US
Jimmy Reagan was born in Saint Paul, Minnesota. In
2011, he burst into the creative world as a dynamic,
young artist. He currently lives and creates in Mendota
Heights, Minnesota. Reagan works primarily in oil
pastels, colored pencils, pen and paint to create single
and multi-media pieces.
The imagery in his art radiates his ability to bring fresh
perspective to an image or a simple form. Reagan often
re-imagines the world in bright and sometimes shocking
color and often with distorted and inverted shapes. His
unique style is born out of a struggle to communicate
his ideas, his needs, and his perspective to the world
visually. Diagnosed at age three with Autism, art
expression became a way to give visual voice to his
dreams and experiences.
Bright, electric color infuses his images as do short
lines he defines as ‘tick marks”. His work, especially
his cityscapes, clearly illustrates a deep connection to
FACTORY-ART gallery
Exhibitions
Sunfish Cellars, Lilydale, Minnesota permanent
exhibition
2011 Edina Art Center, Edina MN
2011 Universtiy of Minnesota Wine Fest Barrel Artist
Guest Artist fro Bobiarn Artistic Streetwear
2012 WineFe3st Featured Artist
2012 at Minneapolis Depot.
HYPERLINK “http://www.thewinefest.org”
2012 Unity Church, St. paul, Mn
2012 Eclectic Goat Exhibit, Northfield, Minnesota
2012 Fresh Ground, St Paul, MN
2012 The Depot, Hopkins, MN
2012 Abbott Northwestern Hospital Minneapolis, MN
2012 Owatonna Center for the Arts
2012 The Bean Factory
Learn more:
http://www.throughjimmyseyes.com/
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GUEST ARTIST
JIMMY REAGAN - US
Title: Girl with Hat, 2012
Girl with Hat, is a fashion forward painting where the subject
wears a stylized blue hat with flower. The facial color tones
in Girl with Hat are curious with various tones of orange,
florescent green eyes and an unexpected patch of purple
around her left eye. Jimmy’s characteristic mushroom
nose creates fullness in subjects face. Expressionism might
describe Girl with Hat’s face
technique: acrylic on Canvas
size: 24x30 inches
FACTORY-ART gallery
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GUEST ARTIST
JIMMY REAGAN - US
Title: Golden Hair Man Painting, 2011
Unlike its’ study Golden Hair Man, Golden Hair Man Painting’s
subject has an Eastern European feel. The subject’s dramatic
nose, piercing eyes and thick golden hair assist in creating
this sense of Eastern European ethnicity. Jimmy ties this piece
together with the use of the color pink. It was the last color
he added to this piece. Jimmy accomplishes this by repeating
the pink skin tone in the background with tick marks.
technique: Acrylic on Canvas
size: 16x20 inches
FACTORY-ART gallery
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catalogue - Factory Art

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